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Contents for February 12, 2015

1. Michelle Handelman, Robert Mapplethorpe, Andres Serrano, Tobaron Waxman, FF Alumns, at the Leslie-Lohman Museum of Gay and Lesbian Art, Manhattan, opening Feb. 13

Irreverent: A Celebration of Censorship
Curated by Jennifer Tyburczy
February 13 - May 3, 2015
Public Opening: February 13, 2015, 6 - 8 pm

Inspired by the creative and activist responses to the censorship of Robert Mapplethorpe's art in the 1980s and 1990s and the more recent withdrawal of David Wojnarowicz's A Fire in My Belly from the National Portrait Gallery in 2010, Irreverent explores how sexuality has been, and continues to be, used as a tool to prohibit LGBT cultural artwork.

Museum Director Hunter O'Hanian says, "The focus of this exhibition will be the work which has been excluded from other mainstream institutions due to its gay content. Going back to the 'Culture Wars' of the 1980s, the exhibition landscape has changed as certain works of art have been excluded because they were considered 'offensive' or 'too risky.' While in some ways we live in a time which appears more tolerant, exclusion of artwork, and certain facts about some artists, are still excluded because of the person's sexual orientation."

Work in the exhibition will span more than three decades and will tell numerous stories of intentional exclusion of works, as well as acts of violence and vandalism.

Guest curator Jennifer Tyburczy says, "The exhibition draws inspiration from the innovative responses to watershed moments in the history of censoring LGBTQ art in Canada, England, Ireland, the Netherlands, South Africa, Sweden, Turkey, and the United States. In concept, the show is principally drawn from two events: the censorship of Robert Mapplethorpe's art in the 1980s and 1990s and the more recent withdrawal of David Wojnarowicz's A Fire in My Belly from the National Portrait Gallery in 2010. In practice, it seizes on the international fame of these controversies to delve deeper into the many ways that censorship functions in queer artistic life."

Curating from the perspective that censorship occurs differently and in multiple ways, locations, and moments, the show includes spaces for the restaging of the social, cultural, and political components that led to, followed, or influenced diverse episodes of controversy. In all, the exhibition will feature the work of seventeen artists. It will depict approximately a dozen episodes of exclusion and censorship including:

In the Being series (2007), Zanele Muholi interrogates black lesbian relationships and safer sex. On the surface, the visuals capture couples in intimate positions and moments showing their love for each other. However, Muholi's photographs also critique HIV/AIDS prevention programming in South Africa, and how, in her view, it has failed women who have sex with other women. For years, Muholi has documented gay, lesbian, and transgender people in South Africa and beyond. In April 2012, Muholi's apartment was broken into while she and her partner were away. The thieves took nothing but her archives, and little has been done to retrieve her works.

In 2010 in an art gallery in Lund, Sweden, a group of individuals who local authorities believed to be neo-Nazis used axes and crowbars against Andres Serrano's photographic series The History of Sex in a spectacular display of terror and vandalism. Death-metal music played in the background as they destroyed $200,000 worth of photographs while shouting expletives and, "We don't support this" in Swedish. The vandals left behind leaflets reading, "Against decadence and for a healthier culture." No arrests were made.

Alma López's digital print Our Lady was shown in the exhibition CyberArte: Tradition Meets Technology curated by Dr. Tey Marianna Nunn for the Museum of International Folk Art (MOIFA) in Santa Fe, New Mexico in 2001. The exhibit consisted of four Latina artists whose visual work incorporated imagery containing traditional cultural iconography (such as the virgin of Guadalupe) that the artists reconfigured using digital technology. Soon after the opening, Jose Villegas and Deacon Anthony Trujillo were joined by Archbishop Michael J. Sheehan in organizing protests demanding the removal of the small digital print. The protests were violent. The museum, curator, and Alma López endured constant verbal abuse and physical threats. Our Lady went on to be censored again in Oakland, California and Cork, Ireland.

The censorship of Michelle Handelman's video installation Dorian: a cinematic perfume is a classic example of the moral panic that can ensue when queer art is shown in mainstream museums. After the video was originally shown as one part of a larger exhibition at Austin, Texas's Art House in 2011, Dorian was shut down for certain periods of time without explanation. Following this, the looped video was then presented with only limited screening times, before being removed altogether. These decisions were precipitated by one particularly powerful board member who was personally offended by the film's content.

At the 2012 exhibition Aykırı (Contrary) municipal officials of the İzmir Art Center in Kültürpark, Turkey pulled from view three photographs each by three different artists: Baris Barlas's photograph Invisibles of two men kissing in a crowded Mexico City subway station, Damla Mersin's powerful shot (Confuse) of a woman in a headscarf striking a haughty pose and fully in control of her sexuality, and Seray Ak's untitled photograph of two women kissing while wearing headscarves. These artists boldly started a conversation on the politics of display in İzmir, Turkey during a time of vigorous debates about women's legal right to wear headscarves and the future of the LGBT rights movement in Turkey.

In 2010, curators and volunteers at the GFest, London's Queer Arts Festival, were ordered to cover up some of the works with masking tape and tarps. Of these artworks, Irreverent will display Corrine Bot's Jack & Jill 01-03, Kimi Tayler's The Stags In Drag (THE NATURE OF BEAUTY), and Jason Woodson's tribute to David Wojnarowicz's, One Day This Kid (20 Years On)

"Sex-queer, dissident and explicit-is central to the exhibition," says Tyburczy, "The acts depicted in these works of art by established artists is what caused the censors and vandals to take the steps they did. The exhibition shows how the defamers of queer life have consistently used sex as a political tool to silence all kinds of minority voices on issues that range from immigration to religion, to race, gender, and disability, to globalization and capitalism."

Artists slated to participate in the show include Seray Ak, Baris Barlas, Corrine Bot, Alex Donis, Harmony Hammond, Michelle Handelman, Alma López, Robert Mapplethorpe, Damla Mersin, Kent Monkman, Zanele Muholi, Barbara Nitke, Andres Serrano, Kimi Tayler, Tobaron Waxman, David Wojnarowicz, Jason Woodson and others.

This exhibition will be the featured exhibition of the Queer Art Caucus of the College Art Association 's 2015 national convention scheduled in New York in February. A panel will be presented on the exhibition at the conference.

Jennifer Tyburczy Curator: Jennifer Tyburczy is Assistant Professor of Speech Communication and Rhetoric and English Language and Literature at the University of South Carolina. She received her Ph.D. in Performance Studies from Northwestern University in 2009 and has since held teaching and research positions at Columbia College Chicago, Rice University, and el Colegio de México in Mexico City. Her work has been published in Criticism, Museum & Society, Radical History Review, Text & Performance Quarterly, Women & Performance, and The Journal of Literary & Cultural Disability Studies. Her book, Sex Museum: The Politics and Performance of Display, is forthcoming with the University of Chicago Press in 2015.

About the Leslie-Lohman Museum of Gay and Lesbian Art
"...invaluable museum." Holland Cotter, New York Times, June 2013
Best place for gay culture, Time Out New York: New York's Best 2012

The Leslie-Lohman Museum of Gay and Lesbian Art is the first and only dedicated gay and lesbian art museum in the world with a mission to exhibit and preserve gay and lesbian art, and foster the artists who create it. The Museum has a permanent collection of over 24,000 objects, 6-8 major exhibitions annually, artist talks, film screenings, readings, THE ARCHIVE - a quarterly art newsletter, a membership program, and a research library. The Leslie-Lohman Museum is operated by the Leslie/Lohman Gay Art Foundation, Inc., a non-profit founded in 1987 by Charles W. Leslie and Fritz Lohman, who have supported gay and lesbian artists for over 30 years. The Leslie-Lohman Museum embraces the rich creative history of the gay and lesbian art community by educating, informing, inspiring, entertaining, and challenging all who enter its doors.

The Museum is located at 26 Wooster Street in the SoHo neighborhood of New York City. Admission is free, and hours are Tuesday through Sunday, 12-6 pm, and Thursday, 12-8 pm. The Museum is closed Monday and all major holidays. The Leslie/Lohman Gay Art Foundation, Inc. is a non-profit organization and is exempt from taxation under section 501(c)3 of the IRS Code. The Museum can be reached at 212-431-2609. For more information, go to LeslieLohman.org.

Contact: Jerry Kajpust
Deputy Director for External Relations



2. Joni Mabe, FF Alumn, at Morris Museum of Art, Augusta, GA, thru March 22

Joni Mabe the Elvis Babe, Morris Museum of Art, Augusta, GA, Feb. 4 thru March 22, 2015.
Morris Museum of Art
1 Tenth Street
Augusta, Georgia 30901



3. Charlemagne Palesine, FF Alumn, at First Unitarian Congregational Society, Brooklyn, March 5

Thu, March 5 - 8pm
Tony Conrad & Charlemagne Palestine
$18-25 @ 116 Pierrepont St., Brooklyn 11201
Tony Conrad and Charlemagne Palestine, masters of improvisation and drone, come together for a special duo concert at Brooklyn's First Unitarian Congregational Society. Presented by ISSUE as part of a two-night celebration of Conrad's 75th birthday, the evening-length performance pairs Conrad on violin with Palestine on pipe organ, grand piano, and voice.



4. Paul Lamarre, Melissa P. Wolf, FF Alumns, at EIDIA House, Feb. 20

News from EIDIA: Closing Reception for Mark Shorter "The Groker" @ Plato's Cave, Friday Feb. 20, 6 to 8 pm & The Deconsumption Sale

See Shorter's post-performance installation/video, and purchase his Butt Plug with Immanuel Kant text scroll limited edition: "Anal Scroll".
Shorter's one month residency at EIDIA House Plato's Cave initiates the Residency Program.

contact <eidiahouse@earthlink.net for more info

The Deconsumption SALES continue at:
The EIDIA House
14 Dunham Place
Brooklyn 11249
hours: Wed. - Sat. 1-6pm
or by appointment, Contact Paul Lamarre or Melissa P. Wolf <eidiahouse@earthlink.net

All sales benefit EIDIA House a 501c3 fiscal sponsorship of Fractured Atlas. Plato's Cave and the Deconsumption Sales are initiatives of EIDIA House Inc.



5. Chun Hua Catherine Dong, FF Alumn, at MAI, Montreal, Canada, opening Feb. 14

Chun Hua Catherine Dong, at MAI (Montréal, arts interculturels), Montreal, Canada, opening Feb 14 at 3:00pm-5:00pm
" To Rebel is to Justified"
February 14-March 21

"To Rebel is Justified" is the slogan used by the Red Guards during the Cultural Revolution. With To Rebel is Justified, the artist revisits this dark period of Chinese history in a performative context. Chun Hua Catherine Dong puts herself on stage and personifies an imaginary Red Guard. Dressed in a military uniform, the anti-revolutionary of the 21st century explores human vulnerability in the context of ritual humiliation. Reversing meaning and symbols, Chun Hua's "Red Guard" welcomes Mao Tse-tung to a pigsty rather than Tiananmen Square. Both tied to a classroom chair and kneeling in a bathroom, the performer plays with erotic submission.

The exhibition brings together a collection of 12 photographs captured in China in 2013 and a documentation of her recent performance " The Yellow Umbrella-An Unfinished Conversation."



5. David Everitt Howe, Emily Roysdon, FF Alumns, at Participant, Inc., Manhattan, thru Feb. 22


Emily Roysdon, If Only a Wave
Curated by David Everitt Howe
January 11 - February 22, 2015

UNCOUNTED (Performance 4)
Sunday, February 22, 7:30pm
Readings and performances prompted by excerpts from Roysdon's essay UNCOUNTED.

Participant Inc. 253 East Houston Street, New York, NY 10002
(212) 254-4334



6. Magie Dominic, FF Alumn, in Buried In Print, now online at http://bit.ly/1wRzUMI

Hi "Street Angel", my Newfoundland memoir, just received a wonderful review. Review title: "Countdown: Magie Dominic and Ann-Marie MacDonald". It's on the literary blog "Buried In Print":
Review link:
Thank you.
Magie Dominic

Interview on writing
Magie Dominic at Lincoln Center Archives
twitter @magiedominic



7. Sophie Calle, FF Alumn, at Musée d'art contemporain de Montréal, Quebec, Canada, thru May 10

For the Last and First Time by Sophie Calle
Simon Starling: Metamorphology
February 5-May 10, 2015

Musée d'art contemporain de Montréal
185, rue Sainte-Catherine Ouest
Montréal, Québec H2X 3X5


The Musée d'art contemporain de Montréal (MAC) is energetically continuing the exciting new programming launched with its 50th anniversary as it hosts presentations by renowned artists Sophie Calle and Simon Starling. For the Last and First Time is a two-part exhibition by French conceptual artist Sophie Calle, who is one of the most important artists of her generation. The MAC also welcomes the exhibition Simon Starling: Metamorphology, an introduction to the work of this British artist, winner of the prestigious Turner Prize in 2005. The Sophie Calle and Simon Starling exhibitions run from February 5 to May 10, 2015.

For the Last and First Time by Sophie Calle
Curator: Josée Bélisle

Internationally renowned artist Sophie Calle makes a splendid debut at the MAC with For the Last and First Time. This exhibition, which reveals great artistic sensibility, consists of two projects: The Last Image (2010), a series of photographs accompanied by texts, and Voir la mer (2011), a series of digital films.

These two bodies of work are in some way a continuation of a piece produced by Calle in 1986, titled The Blind. In that case, the artist asked blind people to describe beauty. One of them answered: "The most beautiful thing I've ever seen is the sea, an endless sea." It was in Istanbul, years later, that Calle chose to pursue her poetic investigation of blindness, beauty and the sea. The installation, accompanied by the soothing sound of waves, first presents The Last Image, a series of photographs, tinged with melancholy, for which Calle asked people who had lost their sight suddenly to recall the last thing they saw. For Voir la mer, she managed to find residents of Istanbul-a city surrounded by water-who had never seen the sea. She filmed each of these captivating, memorable maritime encounters.

The presentation at the MAC is emblematic of the approach followed by an artist who, in works with complex narrative threads, gives universal resonance to subjects rooted in real-life experience.

Simon Starling: Metamorphology
Curator: Lesley Johnstone

Although Simon Starling's works have been shown extensively around the globe and may be found in the world's leading collections, until recently he has never been the subject of a major North American exhibition. Organized by the Museum of Contemporary Art Chicago, Simon Starling: Metamorphology presents a survey of his output of the last decade or so.

The show includes Bird in Space 2004 (2004), a two-tonne steel plate that intertwines two moments in time: a controversy over a Brancusi sculpture in 1923 and the U.S. government's increase in the tax on imported steel in 2004; The Long Ton (2009), two blocks of marble, one Italian, the other Chinese, suspended from the ceiling; and Flaga 1972-2000 (2002), a Fiat 126 hung on the wall. The installation Project for a Masquerade (Hiroshima) (2010-11) features such disparate characters as James Bond, Henry Moore, Sir Anthony Blunt, Colonel Sanders and a Japanese Noh mask maker. Pictures for an Exhibition, a suite of 36 gelatin silver prints, exemplifies Starling's two-pronged inquiry, one historical and the other photographic. Prompted by two archival photographs, he tracked the various peregrinations of sculptures by Constantin Brancusi, from their presentation in a 1927 exhibition at the Arts Club of Chicago to the present day. Once he found them, he photographed them in their current locations: private collectors' homes, museum vaults and exhibition spaces.

Simon Starling: Metamorphology is curated by Dieter Roelstraete and organized by the Museum of Contemporary Art Chicago. Pictures for an Exhibition is a project organized by the Arts Club of Chicago.



8. Dan Hurlin at WeisAcres, Manhattan, Feb. 15

Sundays on Broadway, presented by Cathy Weis Projects
February 15, 2015

537 Broadway #3
New York, NY 10012

Free admission

Reading: Fortunato Depero's dramma plastico futurista read by Dan Hurlin

On February 15, puppet artist Dan Hurlin will read his translation of Italian futurist painter and sometimes puppeteer Fortunato Depero's newly discovered and never performed dramma plastico futurista scripts, written in 1917.



9. Nicolás Dumit Estévez, FF Alumn in sx salon, now online at http://smallaxe.net/sxsalon-home and more

The February issue of sx salon is now available online. Our special section in this issue features articles inspired by the "Gender and the Caribbean Body" reading group and public event held in New York City in Spring 2014, including engaging interviews with writer Kettly Mars, visual and performing artist Nicolás Dumit Estévez, and photographer Gerard H. Gaskin.. The "Gender and the Caribbean Body" special section opens with discussion articles on gender and sexuality from three of the reading group members: Christopher Ian Foster reads literary instances of the queered immigrant body, Sophie Ellman-Golan explores the invisibility of male sex workers in Haiti, and Grace Aneiza Ali contemplates the gender-blending photographs of Keisha Scarville. Together these six pieces capture some of the breadth and complexities of the works produced by the "Gender and the Caribbean Body" reading group.

This issue also features reviews of Nalo Hopkinson's Sister Mine by fellow fantasy writer Tananarive Due and Bernardine Evaristo's audacious Mr. Loverman by Kela Nnarka Francis. We also carry reviews of monographs by Antonio López and Christina Kullberg. Rounding out this first issue of 2015 are prose fiction pieces by AJ Sidransky and Cynthia James, alongside poetry from Jason Allen and Sophie Maríñez.
We hope you enjoy reading this issue of sx salon. Please feel free to share widely.
Kelly Baker Josephs

sx salon 18 (February 2015)
Introduction and Table of Contents-Kelly Baker Josephs
Sister Mine, by Nalo Hopkinson-Tananarive Due
Unbecoming Blackness: The Diaspora Cultures of Afro-Cuban America, by Antonio López-Daniel Arbino
Mr. Loverman, by Bernardine Evaristo- Kela Nnarka Francis
The Poetics of Ethnography in Martinican Narratives: Exploring the Self and the Environment, by Christina Kullberg-Rachel L. Mordecai
Discussion: Gender and the Caribbean Body
Beautiful Ambiguities: The Photography of Keisha Scarville-Grace Aneiza Ali
Constructions of the Caribbean: The Invisibility of MSM Sex Workers in Haiti-Sophie Ellman-Golan
Toward a Caribbean Migritude?: Immigration, Sexuality, and the Gendered Caribbean Body-Christopher Ian Foster
"My Caribeñidad": A Conversation with Nicolás Dumit Estévez-Maja Horn
"A Safe Place": A Conversation with Kettly Mars-Alessandra Benedicty
Capturing Beauty with a Caribbean Lens: A Conversation with Gerard Gaskin-Kelly Baker Josephs

Sophie Maríñez
Jason Allen
AJ Sidransky
Cynthia James


A recent interview for Wave Hill.


Thank you.




10. James Romberger, Kiki Smith, Anton van Dalen, FF Alumns, at Ernest Rubenstein Gallery, Manhattan, opening Feb. 12

A Survey of Working Artists on the Lower East Side
February 12 - April 1, 2015 | Ernest Rubenstein Gallery

Curated by Linda Griggs and Yona Verwer
Opening Reception | 2/12 | 7-9PM | RSVP

Lore would have it that the storied past of the Lower East Side and East Village art scenes ended with gentrification in the 90's. But some of those very artists have stayed and continued making art. This show is a survey of current Lower East Side artists - those still engaged in a forever changing and a forever the same neighborhood; of those still making art, all together, different. Curated by Linda Griggs and Yona Verwer, ALL | TOGETHER | DIFFERENT brings together nearly 100 Lower East Side artists and arts organizations actively working in the community.
Read more.

All | Together | Different is a project of the Educational Alliance Art School @ Manny Cantor Center

Linda Byrne | Kathleen Casey | Chico | Susanna Coffey | Marguerite Van Cook | John Copeland | Jamie Dalglish | Daria Deshuk | Bonnie Dewitt | Elizabeth Dworkin | Ula Einstein | Steve Ellis | Erik Foss | David Friedman | Day Gleeson | William Graef | Robert Grant | Linda Griggs | Dominick Guida | Fred Gutzeit | Richard Hambleton | Allen Hansen | Daniel G. HIll | David Hochbaum | Kylie Hydenheimer | Brun Jakob | Tom Jarmusch | Else Kahane | Kim Keever | Mark Kehoe | Tine Kindermann | Lisa Lebofsky | Susan Leopold | Wayne Liu | Bonnie Lucas | Yuri Masnyj | Bill Massey | Everett McCourt | Mary Jane Montalto | Molua Muldown | Joe Heaps Nelson | Angel Ortiz | Andre Petrov | Kembra Pfahler | Philly aka Kondor 8 | Jim Power - The Mosaic Man | Mark Power | Rick Prol | Jim Radakovich | Louis Renzoni | James Romberger | Cynthia Beth Rubin and Yona Verwer | Samoa | David Sandlin | Phyllis Sanfiorenzo | Karen Schifano | Mary Schiliro | Larry Silver | Judith Simonian | Kiki Smith | Nico Dios Smith | Flavia Souza | Robin Tewes | Miguel Trelles | Anton Van Dalen | Mary Jo Vath | Rafael Velez | Yona Verwer and Cynthia Beth Rubin | April Vollmer | Melanie Vote | Pauline Walsh | David Wander | Roger Welch | Hans Witschi | Jimmy Wright | Jeffrey Cyphers Wright | Guang Zhu | Anthony Zito



11. Cary Peppermint, FF Alumn, at Bemis Center for Contemporary Arts, Omaha, NE, thru March 2015

FF Alumn Cary Peppermint at Bemis Center for Contemporary Arts, Omaha

Explore the Microbial!
OS Fermentation Salon Series
February - March 2015
Put down your hand sanitizer, throw away your antimicrobial cleaners and join Leila Nadir and Cary Peppermint in creating edible artworks through collaborations with bacteria. With their new OS Fermentation project, the Bemis Center artists-in-residence will lead participants on a pro-microbial healing journey through the art of wild fermented foods. Microbes help us absorb nutrients, regulate our weight, stimulate our immunity, stabilize emotions and even form a vital communication system between our bodies and the external world to make us more resilient to environmental changes. During Nadir and Peppermint's three OS Fermentation salons and workshops, the public will learn about the global revival of fermentation as a practice of food independence and discuss the industrial food system and modern society's war on bacteria. They will also sample the artists' wild fermented edible art, including their acclaimed coffee-banana wine and blueberry-chocolate kombucha, create their own edible artworks made of fermented vegetables and partake in a tasting party to share their artistic concoctions.

The artists' OS Fermentation is a slow-cooking class, healing ritual and spiritual revival of human-microbial proportions. It is also part of their Edible Ecologies project, a series of social sculptures that resuscitate historic food practices and facilitate recovery from what they call "industrial amnesia." At a time when people are more confused about food than ever, and diseases caused by poor nutrition continue to rise, Edible Ecologies remixes ancient cultural practices to find creative ways for us to participate in our own healing and sustenance. Nadir and Peppermint believe that art can help people navigate the global health crisis, which they see as a crisis of creativity and imagination caused by the industrialization of food.

Participation in the OS Fermentation Salons is free, but spaces are limited, and the Bemis Center encourages people to reserve their spaces in advance. Since each meeting in the series builds upon the last, participation in one requires participation in the previous meetings. The Bemis Center will provide all materials and refreshments.

OS Fermentation Schedule of Events:
Times: 6:00 -8:00 pm

February 26: OS Fermentation Salon
Meet the artists, imbibe their wild-fermented edible artworks and learn about the industrial food system and the global revival of fermentation with a reading from fermentation guru Sandor Ellix Katz's famous cookbooks.

March 12: OS Fermentation Workshop
Join the artists to create your own personal wild-fermented, vegetable-based edible artwork. Workshop materials will be provided at no cost by the Bemis Center, and participants will have the opportunity to learn about the artists' fermentation techniques and experiment with different ingredients.

March 26: OS Fermentation Party
Share the fermented food you've made during the workshops at our celebration tasting party and enjoy the final discussions about contemporary food production and how we can retake control of our own sustenance.
About the Artists:
Bemis Center Artists-in-Residence Leila Christine Nadir and Cary Peppermint study the imagination of food and the environment in the afterglow of modernization. Their projects take form as architectural interventions and urban wilderness tours, internet art and public performances, scholarly articles and poetic essays, and have been supported by the Andrew W. Mellon Foundation, K2 Family Foundation, Franklin Furnace Fund, Center for Land Use Interpretation, New York Foundation for the Arts, New York State Council on the Arts, and numerous academic fellowships. Merging the ancient and the modern, Nadir and Peppermint's work navigates biological systems, primitive technologies, meditation practices, nineteenth-century romanticism, industrialization, and new media technologies. They have presented their projects at the Whitney Museum of American Art, Neuberger Museum of Art, New York University, Smackmellon Gallery, Exit Art, UCLA, MIT Media Lab, Banff New Media Institute, and European Media Art Festival. Leila earned her PhD in literature from Columbia University, and Cary earned his MFA from Syracuse University. They teach art, media theory, and environmental humanities courses at the University of Rochester in New York State.

Leila Christine Nadir, PhD
2015 Artist-in-residence, The Bemis Center for Contemporary Arts
2015 Artist-in-residence, Center for Land Use Interpretation
Sustainability Studies Faculty, University of Rochester
Art/Environment: www.EcoArtTech.org
Recent essay: "Write What You Don't Know" / North American Review



12. Susan Bee, Mira Schor, FF Alumns, at the Museum of Arts and Design, Manhattan, Feb. 14

Mira Schor and Susan Bee, FF Alumns: Roundtable Discussion: A Community of M/E/A/N/I/N/G, with artists Sheila Pepe, Kara Rooney, Joyce Kozloff, and Alexandria Smith. 10:30am, Feb. 14, at the Museum of Arts and Design. The Feminist Art Project @ CAA



13. Marina Abramović, FF Alumn, in The Wall Street Journal, Feb. 4

The Wall Street Journal
NY Heard & Scene
Artful Dishes for a Lifestyle Revolution
Performance Artist Marina Abramovic Delves Into Dinnerware Design
By Marshall Heyman
Feb. 4, 2015 6:58 p.m. ET

Because she is busy, and, well, because you probably don't know her personally, it likely isn't that easy to make a dinner date with performance artist Marina Abramović. (Heck, it isn't easy to make a dinner date with a lot of important people in this town.)

But now, at least, you can dine with the spirit of the New York-based Serbian artist, thanks to a new set of plates she designed for the French porcelain company Bernardaud that launched this week.

Plenty of important artists have designed tabletop items. In recent years, Jeff Koons, David Lynch and Kara Walker have all collaborated with Bernardaud.

''It's about the ritualization of everyday life. These are dishes, but they're not just dishes.''
-Marina Abramović

Even Thierry Guetta, the Paris-born artist also known as Mr. Brainwash-has gotten into dinnerware design. Mr. Guetta, the subject of the documentary "Exit Through the Gift Shop," recently created a "family of fine bone china tableware" for the British company 1882 Ltd., complete with an "iconic motif," namely splattered paint in the shape of a heart.

Exit through the gift shop, indeed.

"We're not the inventors of art on the plate. That has been going on for ages," said Mr. Guetta in a phone conversation from Los Angeles on Wednesday.

"I saw it as a canvas, but I also saw it as a plate. If you buy a plate in a gallery, you might think twice about eating on it. But if you buy that plate in a plate store, you might not," he said.

Ms. Abramović was on hand at the Museum of Modern Art on Tuesday with Frédéric Bernardaud to show off her new plates as well as a comical short film she made with actors to show the plates in use.

Set A features an oversize service plate with gold-leaf detail; a dinner plate with an image of the artist's lips from a performance piece in which she covered her face with honey and gold leaf; a plate in the shape of a red star meant to evoke communism as well as a star she engraved on her stomach in her early work; and a bread-and-butter plate featuring her family crest, which includes an illustration of a wolf eating a lamb.

Set B is somewhat similar. The serving plate features silver leaf; the dinner plate has the family crest; the bread and butter plate has the gold lips and the star plate is white.

This star plate, Ms. Abramović said, should make us think "what is beyond the cosmos."

Most sets of dishes, said Mr. Bernardaud, include enough pieces to serve four, eight or even 12. Ms. Abramović's is unusual, he explained, because each $580 set includes only a single place setting. The performance artist likes to call it "Lonely Dinner for One." Two thousand editions of each set were made.
The Set B dishes designed by Marina Abramović. ENLARGE

"Nobody buys plates just for himself," said Ms. Abramović, sitting with Mr. Bernardaud. But that is what interested her.

"Everyone's ashamed to be alone. But this is completely ridiculous. You're always bored. You always want entertainment," she said. "But how can entertainment come from your own self? This is the important thing. This is the revolution."

It is also just one of the elements of simple, streamlined living she calls "the Abramović method."

"It's about the ritualization of everyday life," she explained. "These are dishes, but they're not just dishes."

When it comes to dishes at home, Ms. Abramović said she has been using many of the proofs Mr. Bernardaud had sent her as potential samples for the collection.

"They're really misfits," she said. Otherwise, she added, "I use plain white plates."

When Ms. Abramović was first approached to do the line, she recalled thinking, "I'm too crazy for them."

"But for us, it was interesting to take a risk," Mr. Bernardaud replied. "The idea is the small objects of your everyday life must make you feel better."

With that, he presented Ms. Abramović with a particularly small object: a miniature version of her red-star plate. She ogled it as she held it in the palm of her hand.

"Wait, wait, wait," she replied, visibly touched. "This is so beautiful. Look at what he's doing! Making me little porcelain stars!"

Ms. Abramović said she would use it to serve a pomegranate seed.

Write to Marshall Heyman at marshall.heyman@wsj.com



14. Beth B, FF Alumn, at Soho House, Manhattan, Feb. 20


Feb. 20th at 9:30pm

Zeitgeist Films launches our DVD & digital release
on February 3, 2015!

The Film-Makers' Coop has picked up our non-theatrical, educational & non-profit distribution rights!

The Film-Makers' Coop invites you to a celebratory screening.

Friday, February 20, 2015 -- 9:30 pm
Soho House
29 9th Ave (bet. 13th & 14th St.)
New York, NY
Reservation required
RSVP to filmmakerscoop@gmail.com
Free admission - Theater is limited to 40 seats.

To purchase a DVD of EXPOSED

To book a screening of EXPOSED

Visit our website
facebook: Exposed by Beth B



15. Katya Grokhovsky, FF Alumn, February events

Dear Friends and Colleagues,

I would like to inform you of my news and events taking place this February 2015:

**Domestic Ideals: Nostalgia and the Home
Co-curated by Yan Gi Cheng and Peter Gynd
Opening Sunday 8th February 2015 6-8pm

Exhibition: 8th Feb 2015 - 8th March 2015

Performance: House Play by Katya Grokhovsky with Angeli Sion
Sunday February 22nd 2015 @4pm

Artists: A-CHAN, Katya Grokhovsky, Reuven Israel, Joan Linder,
Paul Loughney, Melissa Murray, Ryan Sarah Murphy, and Marcie Revens.

Lesley Heller Workspace
54 Orchard st
New York, NY

**Face to Place
NYFA Curates select participants of the Immigrant Artist Program
Opening Friday 20th February 2015 6-8pm
Opening night performances with Status Update by Katya Grokhovsky
Exhibition: 20th Feb 2015 - 8th May 2015
NYFA Offices
20 Jay Street, Suite 740,
Brooklyn, NY 11201

**DIS: an evening of video and performance art ABILITIES
Friday February 13th 2015 7.30 pm
Curated by Christen Clifford as part of Women's Caucus for Art annual conference
Artists: Petra Kuppers, Marni Kotak, Marissa L. Perel, Katya Grokhovsky, Melanie Houghton and Joan Lipkin 's Disability Project.

Dixon Place
161A Chrystie Street
New York, NY 10002

I am excited to announce that I have been selected as the 5th AUX Performance Space Curatorial Fellow at Vox Populi Gallery in Philadelphia, February - May 2015, research stage February/March with programming in April through May.

*Current Studio Residency:
NYSRP / AICAD - New York Studio Residency program
Spring Semester Artist in Residence
January - April 2015
20 Jay Street
Brooklyn, NY 11201

*Current Exhibition:
Immediate Female
Group Exhibition
Exhibition: Jan 25th-March 8th 2015
Judith Charles Gallery
196 Bowery (at Spring street)
New York, NY 10012
Performance event TBA

*Current Ongoing Fellowship:
BRIC Media Arts Fellowship
January - October 2015
BRIC House
647 Fulton Street
Brooklyn, NY 11217

Best Wishes
Katya Grokhovsky




16. Anton van Dalen, FF Alumn, current events

Dear family, friends, neighbors and arts community,

I am so pleased to share with you information about the following public showings of my work.

-- "New Works" at PPOW Gallery exhibition is of oil paintings, opening Friday, February 13, 6-8 pm.

-- "Historical Works" at ADAA The Art Show, Park Avenue Armory, of drawings and cut-outs 1970-90s.

-- My "Avenue A Cut-Out Theatre" performance at PPOW, Saturday, February 28 at 7 pm. Doors open 6:30 pm, limited seating.

It will be a pleasure for us all to meet up whenever possible during one or more of the events.





17. Yael Kanarek, Adrianne Wortzel, FF Alumn, at Rutgers, New Brunswick, NJ, thru April 17

The Women and the Arts Collaborative (formally the Institute for Women and Art), and the Mary H. Dana Women Artists Series are pleased to announce the 2015 Momentum Project schedule. On view from January 20 - April 17, 2015, Momentum: Women/Art/Technology features two exhibitions at the Rutgers University-New Brunswick campus. A solo exhibition of work by Adrianne Wortzel will be on view in the Art Library at 71 Hamilton Street, New Brunswick, NJ 08901 (libraries.rutgers.edu/art); and a group exhibition with works by Emilia Forstreuter, Jennifer Hall, Claudia Hart, Yael Kanarek, Jeannette Louie, Ranu Mukherjee, Mary Bates Neubauer, Marie Sivak, Camille Utterback, Adrianne Wortzel, and Janet Zweig, will be on view in Mary H. Women Artist Series Galleries at the Mabel Smith Douglass Library, 8 Chapel Dr., New Brunswick, NJ 08901 (iwa.rutgers.edu/programs/momentum/).

The 2015 Momentum: Women/Art/Technology exhibitions focus on the use of technology in the creation of artworks that straddle traditionalist and modern day technology-based art practice.
They range from screen work, robotic works and performance documentation, to works combining stone and video; to algorithmically generated books of personal writings; to sculptures and prints created by analyzing data; to hypnotic videos that overlay painterly imagery, emotional analysis, and ambiguous spaces.



18. Elizabeth Axtman, FF Alumn, now online at http://iloveyoukeithbardwell.com/home.html

Dear Friends,

After years of capturing footage I have finally completed my documentary short, The Love Renegade #308: I Love You Keith Bardwell (Phase I & Phase II). There were so many ups and downs while working on this project I can't begin to tell you the myriad of emotions I'm experiencing now that I'm approaching the finish line.

The Love Renegade has been a series of art works focused on unsolicited acts of love to those acting a hot ass mess. The Love Renegade #308: I Love You Keith Bardwell (Phase I&II) is a transmedia / experimental documentary. In the film The Love Renegade's gaze is placed upon former Justice of the Peace, Keith Bardwell. In 2009 he broke the law by not marrying an interracial couple in Louisiana, because he believes that children of interracial marriage have difficult lives.

The film gives the topic of LOVE (not race) back to interracial couples asking them the reasons they chose to marry their partner, as well as, asking biracial people/children to speak on their own behalf on how they feel about Keith placing his "fears" on the backs of biracial children. The entire film focuses this dialogue through compassion, love and forgiveness.

Phase I was the film, Phase II is getting Keith Bardwell to see it! I AM asking all of you to participate in Phase II: PLEASE share it (via email, facebook, instagram, twitter, google+, tumblr, etc.) and to encourage the people you know to share it as well. The more people who share this film the stronger the possibility it will get Keith Bardwell's attention. So, please SHARE, SHARE, and SHARE, because this world could use some of this love.

I'm so thankful for your help, I'm thankful to the San Francisco Arts Commission, Franklin Furnace, Harvestworks, and New York State Council on the Arts for their abounding support, and lastly I am so very, very grateful to the generosity given by each and every participant in this film.

Without further ado........


your friend,

Elizabeth (MF) Axtman




19. Adrianne Wortzel, FF Alumn, at Rutgers, New Brunswick, NJ, thru April 17

Solace and Perpetuity, a life story, by: Adrianne Wortzel
Published by Weil Books, New York, January 2015
Here Be Fragments!

"169-13. For measuring good against evil, the scale never shows the same result twice."

This one-of-a-kind book is an autobiographical work sourced from 176 documents arbitrarily chosen from the artist's writings spanning several decades. As in a medieval Book of Hours, various genres are represented, including diaries, dreams, academic papers, fictive prose, poetry, plays, and video and installation scripts. Each numbered volume is a uniquely randomized autobiographical "novel." Individual documents were assigned a number in the order in which they were garnered from the author's archives. Documents are divided into their indigenous paragraphs, which, in turn, are numbered consecutively. The numbers function as traces, offering the potential of searching out the source in order to discover the context. The paragraphs, as entities in their own right, become the modular units subjected to an algorithm that scrambles their order.

Each volume has three different manifestations. One is the readable text-as-book in real time. Another is the text as a folded object which evidences the text but makes it elusive, or rendered obsolete by virtue of its becoming a sculptural object. The third is the mummy-wrapped artifact-as-archived.

Coding by Gabriel Ferrin
First Edit: Bridget McGeehan

Exhibition: January 20-April 17, 2015
Rutgers Art Library, Voorhees Hall
71 Hamilton Street
New Brunswick, NJ 08901

Reception and Artists' Conversations: March 26, 2015
5 PM Reception/ 5:30 PM Conversations
Mabel Smith Douglass Library
8 Chapel Drive, New Brunswick, NJ 08901

Adrianne Wortzel



20. Julie Harrison, Joseph Nechvatal, FF Alumn, at Wekalet Behna, Alexandria, Egypt, thru March 2

Dear Friends,
A belated New Year to all and happy Blizzard!

I'm pleased to announce an exhibition of my work at Wekalet Behna in Alexandria, Egypt, a project of Gudran for Art and Development.

February 2 - March 2, 2015, opening reception February 2, 7:00-9:00 pm

If you are lucky enough to be Egypt, please stop by. Attached is a catalog with an essay by Joseph Nechvatal.

All best,

In The Politics of Aesthetics, Jacques Rancière stresses that both art and politics reconfigure what is possible to say at a given moment - a reconfiguration made possible by "undoing the formatting of reality produced by state-controlled media." [i]
In the current political world it is painfully obvious that we need such strength of mind to hbyeal our intelligence. We need an art that demands a mental mood of interrogation and investigation that would support such a need. Happily, the poetic visual fragmentation (laced in language) one finds in Julie Harrison's work does that. Her paired images offer us a ground of aesthetic pleasure brought about through non-identification with identity (and/or condition), even while she stresses a refusal of containment/confinement of language. Her work is possibly emancipatory in its suggestive transformation of news media. In other words, she believes in the powers of imagination as an aid to liberational politics.

As such, Harrison's empowering art addresses a central situation in which we find ourselves: where all political gestures and critical images are potentially consumed and neutralized in the happy inferno of market commercialization. Many artists have merely watched art and commercialism collide in mutual exploitation. I read Harrison's art as one that transcends the banal economic world to portray a wider vision of political awareness, inclusive of private or magical themes accessible through the subjective realm of each individual; a self-perceptional politics which reveals in minute particulars the wide-ranging spectrum of the social-political dimensions of the human mind. At the crossroads of history, anthropology and language, her images offer new concepts and forms that encourage us to construct fertile political hypotheses.
For me, her work is a backlash against the corporate globalization that has set in. We live in an era where image is nearly everything and where the proliferation of unbearably intrusive brand names defines so-called culture. Her work brings to the social realm new perspectives of citizen-centered alternatives to the familiar saga, stirring up the pot. It provokes thought and encourages exploration, even by cultural conservatives, I hope. They too might wonder if everything artistic is already colonized in an age when Sergei Eisenstein's dialectic montage has become the dominant mode of advertising and a tool of the media industry. If so, what have they sacrificed in becoming a society of passive consumers?

Harrison-s work draws on disorientation, but soon moves us beyond the exhaustion of the consumed. Hence, I am delighted to see her photographic diptychs proceed to blast away pretexts so as to bring us closer, not to truth, a category long ago shattered, but to the realization of new desires. That is what makes her images so awe-inspiring. It encourages a complex and ambiguous political vision of resistance and investigation, one which would be increasingly valuable to a social movement based on skepticism as it strengthens unique personal powers of imagination and critical thinking. It urges us to counter the effects of our age of simplification, effects that have resulted from the glut of consumer-oriented entertainment messages and fundamentalist propaganda; effects that work in the interests of corporate profit and governmental manipulations. This politically visionary aspect of Julie Harrison's art is what Jacques Rancière terms the "phantasmagorical dimension of the truth, which belongs to the aesthetic regime of the arts." [ii]
Joseph Nechvatal, December 2014

[i] Jacques Rancière, The Politics of Aesthetics. Bloomsbury Academic; Reprint edition, 2013, p. 65.
[ii] Ibid. p. 34.
Violence pervades the news around the world; shootings on the street, in schools and the workplace seem routine. Many of us are out of touch with the real violence of poverty and struggle. In my work I re-purpose images from magazines to create a more nuanced interpretation of the news. My photographs, rooted in pictorial history, are not collaged or computer manipulated, yet reveal a painterly aesthetic that transcends and re-frames the violence behind them. I utilize the diptych as a method for reinforcing the notion of my art practice as a mapping or recording of time.
- Julie Harrison, 2014

Joseph Nechvatal is an artist and art writer who lives in Paris. He writes regularly for Hyperallergic and Whitehot Magazine of Contemporary Art. In 2011, his book "Immersion Into Noise" was published at Open Humanities Press.
Abdelrehim Youssef is a translator and poet with four books of poetry. He has translated numerous poems, Shakespeare's A Midsummer Night's Dream and an anthology of Irish short stories.



21. Eliza Ladd, FF Alumn, in Sarasolo Festival, Sarasota, FL, Mar. 1 and more

Eliza Ladd featured article in Sarasota Herald Tribune, Jan 18
Eliza Ladd Jan 26 review of performance at Dali Museum, St. Pete, FLA
Eliza Ladd performance of 'O Let Me Just Be the Greek Whore that I Am' in Sarasolo Festival Mar 1, Sarasota, FL



22. Julie Tolentino, FF Alumn, in new publication

Julie Tolentino
Artist Practice is a collection of personal essays written by thirteen Los Angeles based artists. Their work ranges from painter to poet, sculptor to filmmaker. The artists were asked to write with a focus on three things: their practice in the sense of how they work and how they make that a part of their life, how they understand the medium in which they work, and their specific creative process. The manner in which this manifested to paper was left up to each individual to approach however they felt most comfortable. The result is a selection of deeply honest and revealing texts written from distinctly different perspectives, providing great insight into the practice and process of the working artist.

Contributing Artists:
Sarah Bostwick
Madison Brookshire
Kate Brown
Jay Erker
Corey Fogel
Hannah Greely
Stuart Krimko
John Mills
Mark So
Tucker Stilley
Julie Tolentino
Jon Paul Villegas
Liat Yossifor

Curated and Conceptualized by Clay Dean

Edited By Tuni Chatterji and Clay Dean

Limited Edition of 25
Paperback: 308 pages

Book Release Event
February 5th, 2015 @ 8pm
The Property
440 S Broadway, Los Angeles, CA 90013
(Second Floor)

Musical Performance By

Corey Fogel

Selections from the book
Read by

Madison Brookshire
Jay Erker
Stuart Krimko
John Mills
Mark So



23. Alan Sondheim, FF Alumn, at BabyCastles Gallery, Manhattan, Feb. 20


Presenting at WordHack, February 20th!


New Avatar Woman review:


Our weather now!


From Todd Anderson:

Hello all,
The next Wordhack is on a Friday this time (don't forget) February
20th. Still at Babycastles Gallery. Still starting at 7. Still starting
off with an Open Projector to share your unfinished yet
full-of-potential projects with us.

This month we're excited to feature:

Alan Sondheim is a Brooklyn-based new media artist, musician,
writer, and performer. He performs in virtual, real, and cross-over
worlds known for their highly complex and mobile architectures. Creator
of Internet Text.
Darius Kazemi makes Twitter bots, text generators and other weird
internet stuff. Recent projects include @HottestStartups and

The details again:
WordHack VIII Feat. Alan Sondheim and Darius Kazemi Friday, February
20th 7-9:30pm Babycastles Gallery, 137 w 14th st

Also the new exhibition from Aram Bartholl will be up at Babycastles
for this. If you're free check out the opening the day before on the



24. Veronica Hart, Candida Royalle, Annie Sprinkle, Veronica Vera, FF Alumns, at Anthology Film Archives, Manhattan, Feb. 27, and more

CineKink Reunites Golden Era Porn Legends For "A Tribute to Club 90"

CineKink has announced that A TRIBUTE TO CLUB 90 will be the centerpiece of its twelfth annual film festival, CineKink NYC, which runs February 24-March 1, 2015. Bringing together four of the club's founding members for a rare public reunion, the special event will take place Friday, February 27 at 9:30 PM, at Anthology Film Archives (32 Second Ave., NYC; $20 admission).

Five adult film stars from New York's "Golden Age of Porn," Veronica Hart, Gloria Leonard, Candida Royalle, Annie Sprinkle and Veronica Vera, came together in 1983 to create Club 90, the first-ever porn star support group. Named for the address of the living room where they regularly met, the group forged a bond that would continue for more than thirty years. Turning to one another as they began to navigate life after starring in blue movies, these dynamic women went on to pursue their own personal and creative goals, and in the process, blazed new trails in the fields of human sexuality, women's empowerment, erotic expression, and free speech.

- Veronica Hart, aka Jane Hamilton, has had a long career in adult and mainstream movies, still working on both sides of the camera. She also uses her expertise to educate women in the U.S. and China on issues of love, intimacy, aging and self-pleasure.

- Gloria Leonard debated some of the toughest anti-porn activists and toured college campuses as a self-described "stand up constitutionalist," enlightening students on the First Amendment. She was the first woman president of the Free Speech Coalition.

- Candida Royalle created Femme Productions in 1984 and became known for "pioneering erotic cinema from a woman's perspective," encouraging other women to follow her lead.

- Annie Sprinkle morphed into a performance artist and sexologist, sharing her experiences through her own unique brand of "Post Porn" films, books and articles, theater performances, and teaching.

- Veronica Vera founded the world's first cross-dressing academy, Miss Vera's Finishing School for Boys Who Want to Be Girls, enriching the lives of trans people across the gender spectrum.

In 2002, Ms. Sprinkle earned her PhD from the Institute for the Advanced Study of Human Sexuality in San Francisco. Mses. Hart, Leonard, Royalle and Vera were each awarded the degree Doctor of Human Sexuality in 2014.

"The women of Club 90 have always been a huge source of inspiration for those of us in the sex-positive movement, particularly women," said Lisa Vandever, CineKink co-founder and director. "With their unabashed stance that feminism and sexual self-expression can be one, and a body of work that spans an incredible range of creativity and activism, we're honored to bring them together for this rare reunion."

Featuring clips of the group's favorite work from both sides of the camera, A TRIBUTE TO CLUB 90 will also include a special remembrance of Gloria Leonard, who passed away in 2014, along with frank and funny reminiscences of the days when NYC was America's sex film capital, movies were shot on 35mm film, and Times Square was strictly x-rated.

Known as the "kinky film festival," CineKink NYC runs February 24 through March 1, 2015, and will again feature films and videos that celebrate and explore a wide diversity of sexuality. With offerings drawn from both the independent film world and the adult, works presented at the festival will range from documentary to drama, comedy to experimental, slightly spicy to quite explicit - and everything in between.

For more information and advance tickets, visit http://www.cinekink.com

A TRIBUTE TO CLUB 90 will take place on Friday, February 27, 9:30 PM at Anthology Film Archives (32 Second Avenue, NYC). Tickets are $20 and may be purchased in advance at http://cinekinknyc2015.eventbrite.com

TO REQUEST AN INTERVIEW WITH CLUB 90 MEMBERS: please email press2015 * at * cinekink.com




CONTACT: Lisa Vandever
PHONE: 917.609.5928 (media contacts only, please, not for publication)
EMAIL: press2015 * at * cinekink.com
WEBSITE: http://www.cinekink.com



25. Maria the Korean Bride, FF Alumn, at Wix Lounge, Manhattan, Feb. 13

Special Valentine's Day screening of Maria the Korean bride
One night only
Friday, feb 13
7 pm
$15 reception following with Q/A.
Wix lounge: 235 west 23 st, 8 floor, NYC
Pls reserve your tickets prior to:




26. Simone Forti, FF Alumn, at WeisAcres, Manhattan, Feb. 22

Sundays on Broadway - presented by Cathy Weis
Sunday, February 22, 2015
WeisAcres, 537 Broadway #3, New York, NY

Screening: A Selection of Works by Simone Forti
Followed by a discussion via Skype with Forti. This event was organized by Julie Martin and Cathy Weis.
On February 22, the film series features early and later work by Simone Forti. The program includes News Animation (1986), Green Mountain (1988), and Nonfictions (2014). Following the screening, Forti will participate in a discussion via Skype.
News Animations is a practice and performance form Forti developed in the early 1980s and still uses today. In this program, we will show an early animation, a studio session, which she filmed at Mad Brook Farm in Vermont. Lisa Nelson is on camera.
Green Mountain was created when Forti brought the members of Simone Forti & Troupe to Mad Brook Farm to work on a land portrait of that North East corner of Vermont. They arrived as the snow was melting and spent their days in the woods at the brook and in Lisa Nelson and Steve Paxton's beautiful, newly built, studio. They met with Ed Verge, an Abenaki Indian who lived in the area. Ed took them to some special sites, and they made a recording of him recounting the history of place. In this program, we will screen Nelson's documentation of the work-in-progress performance the group performed while at the farm.
NONFICTIONS - Gorbachev Lives/Zuma News/Questions is a collaboration between Jeremiah Day, Simone Forti, and Fred Dewey. The work consists of a three-channel, looping, silent HD video installation and features cinematography and production design by Jason Underhill. It premiered at the Santa Monica Museum in 2014. In this program, it will be shown as a simultaneous projection.



27. Jay Critchley, FF Alumn, at PAAM, Provincetown, MA, opening May 8

Jay Critchley, Incorporated
Curated by Bailey Bob Bailey
Opening Reception: Friday, May 8, 7pm
The Provincetown Art Association & Museum (PAAM) will present Jay Critchley, Incorporated, the first-ever museum survey of Provincetown artist Jay Critchley's work, spanning more than 30 years. We hope you'll join us for a free reception celebrating the opening of this exhibition and the Members' 12×12 Exhibition and Silent Auction on Friday,
May 8 at 7pm. #CritchleyInc www.jaycritchley.com

Critchley's notoriety is fueled internationally by the alternative and mainstream media with one compelling, visionary proposal and idea after another, relentlessly tackling the big issues of our time, always with a baffling sense of humor, seriousness and timing: from global pathogens to plastics and the car culture, from climate change to corporate domination. What is the American Dream? He asks.



28. Alva Rogers, FF Alumn, at Myrtle Avenue Brooklyn Partnership, Brooklyn, Feb. 20

Alva Rogers, FF Alumn is being interviewed by Greg Tate in Fort Greene on Friday Feb 20.

Fri, Feb 20th, 2015
6:00 PM - 8:00 PM
Black Artstory Month Events, Pillow Cafe
Myrtle Avenue Brooklyn Partnership



29. Mike Glier, Lucy Lippard, Clive Phillpot, Martha Wilson, FF Alumns, at Judson Church, Feb. 13

The Founding and Early History of Printed Matter
Friday, February 13th
6:30-8 pm
Judson Church
55 Washington Square South
Mike Glier, Lucy Lippard, Clive Phillpot, Pat Steir, and Martha Wilson discuss the founding, mission and early history of Printed Matter, and other experimental art practice at the time. Moderated by
Free Public Events in conjunction with Learn to Read Art: A Surviving History of Printed Matter



31. Peter Cramer, FF Alumn, at Educational Alliance, Manhattan, Feb. 12

Please join us Thursday, February 12 @7pm at the
Manny Cantor Center / Educational Alliance
197 East Broadway.

Le Petit Versailles /Allied Productions are among the arts organizations that represent
the ongoing creative cultural examples of expression flourishing on the Lower East Side.

Peter Cramer has created a wall collage that includes the many invite cards and
Le Petit Versailles art collection featuring works by GRRRR, Elisabeth Kley, Derek Jackson, Bodie Chewing, Matt Pych, Caitlin Rose Sweet, C. Ryder Cooley and Wild Ponies!



32. Barbara Rosenthal, FF Alumn, current events

Barbara Rosenthal February, 2015 Feb 11, 6pm "THE BATH" 1976 performance video of Bill Creston and Barbara Rosenthal at THE BODDINALE Film Festival, BERLIN, Germany Boddinstrasse 60, 12043 Berlin. U-7 to Rathaus Neukoln www.boddinale.com Barbara Rosenthal will be present. Feb 12, 8pm "PLAYING WITH FIRE (the Feature): THE MAKING OF PLAYING WITH MATCHES" 1990 performance video of Sena Clara Creston and Barbara Rosenthal at THE BODDINALE Film Festival, BERLIN, Germany Boddinstrasse 60, 12043 Berlin. U-7 to Rathaus Neukoln www.boddinale.com Barbara Rosenthal will be present. Feb 17, 7pm BOOK LAUNCH FOR NOVEL "WISH FOR AMNESIA". "THE SECRET OF LIFE AND OTHER SHORTS" video compilation, and international book launch party with reading from her new novel WISH FOR AMNESIA and discussion, BARLETTA, Italy at the Barletta Library Cialuna Via Nazareth 34, Barletta Italy. www.cialuna.it Barbara Rosenthal will be present. Feb 20. 5PM "THE SECRET OF LIFE AND OTHER SHORTS" video compilation, and reading from her new novel WISH FOR AMNESIA followed by discussion, FLORENCE, Italy at Giubbe Rosse Film and Literary Cafe Piazza della Repubblica 13/14, Florence, Italy tel: 055.21.3300 Feb 21, 7-10PM "COUPLE UNDER UMBRELLA OBSERVED BY GETTYSBURG SOLDIER" and "CANNON AND FLAG DOWN THE PATH" photos in "Love is a Battlefield", BROOKLYN 35mm black and white vintage gelatin-silver photographs in group show of 5 artists. Smith & Jones Gallery 673 Classon Ave, #1R, Brooklyn NY 11238 http://www.smithandjonesart.com/2015/love-is-a-battlefield.html Feb 26, 12noon "MIXTURE: PROVOCATION CARES AUDIO INTERACTIVE PERFORMANCE" ROME Claudio Scardino and Barbara Rosenthal in the Piazza del Popolo, Rome, Italy Feb 26, 5pm READING FROM "WISH FOR AMNESIA" and, participation in the debate and convention with international publishers and writers. I N C O N T R I L E T T E R A R I SLC
Gennaio-Giugno 2015
ore 17,00 - 20,00
00198 ROMA RM
tel. 06. 8417303
GIOVEDÌ 26 FEBBRAIO - Scrittrici italiane e scrittrici straniere di lingua italiana si confrontano sui temi del lavoro, delle politiche culturali e sociali, dei percorsi di genere, della rappresentanza.



33. Betty Beaumont, FF Alumn, at Northampton Community College, Bethlehem, PA, Feb. 16-Mar. 21

February 16 - March 21, 2015

Communications Hall Gallery Northampton Community College
Thursday, March 5th, 3:30 - 4:30pm

Thursday, March 5th, 5 - 6pm

Northampton Community College is pleased to announce the solo exhibition of New York based artist Betty Beaumont's work.

Beaumont has for years produced thoughtful and provocative work in a variety of media including photography, installations, public interventions, and new media. Her work challenges global social awareness, as well as socioeconomic and ecological practices. Beaumont has investigated such issues as energy and species diversity. She is also involved with solution-based sustainability strategies, which reflect contemporary, historic, and cultural perspectives and environmental and social conditions.

Beaumont's exhibition Million-Woman March includes a selection of images taken during the 1992 March for Women's Lives in Washington, D.C. These images focus on the WAC (Women's Action Coalition) participants, who were mainly a group of women artists from New York City (including Beaumont). The photographs project a number of issues that are as relevant today as they were at the time. Images in the Million-Woman March exhibition will provoke discussion about recent potests such as the Charlie Hebdo march, Germany's Anti-Islamic protests, Nigeria's Bring Back Our Girls demonstrations, and the Second Civil Rights movement while simultaneously pointing to historical legislation and social change.

"I'll Be The Judge," "Clarence Thomas is a Sex Offender" and "Guerilla Girls Demand a Return to Traditional Values on Abortion" are just a sampling of the many slogans included on the placards that are imaged in the photos. Elizabeth Murray, Marilyn Minter and Ann Philbin are among many art world luminaries in the photographic series. Other supporters in the video include Deborah Harry, Cyndi Lauper and Jane Fonda. (See the video: https://www.youtube.com/watch?v=L7XfrIAcpjc )

The original 80-image slide work was an element in the multimedia Choice Histories installation at Artists Space in New York City in 1992. During the summer of 2014, each of the 80 transparencies was scanned. Thirty images were selected and printed in 2015 as black-and-white archival pigment prints for exhibition in this solo show.

March for Women's Lives
On April 5th, 1992, nearly a million women marched together in Washington, D.C. in support of women's reproductive rights. At that time, the U.S. Supreme Court was considering making a Pennsylvania state law that limited access to abortions, a constitutionalized law. Fear began to ignite knowing that the high court could endorse this state law or even make abortion illegal by overturning the 1973 Roe v. Wade ruling, which made abortion legal. The legalization of abortion had created a controversial and highly emotional public issue. Due to the power of the Republican membership and political influence in the anti-choice organization, the Supreme Court threatened to overturn the 1973 ruling leading up to this massive march rally on April 5th. Soon after the march in Washington, the Court refused to endorse the state law and left the Roe v. Wade ruling intact.

Women's Action Coalition, WAC, was founded in 1992, when a group of women from the New York art world came together and called for a meeting entitled "Women Strategizing in the 90s." There were many reasons for their frustration; the appointment of Clarence Thomas, who was accused of sexual harassment, as a Supreme Court Justice being the main catalyst. WAC's first official action took place six days after a sexual assault trial involving students from St. John's University. It was during this time that they created their signature logo, a blue dot that was modeled after the blue dot used on television to obscure rape victims' faces on camera. Memorable slogans such as "Let women define rape" and "WAC is watching. We will take action" enabled them to be visible and impactful. WAC remained strong until early 1995.

Betty Beaumont has received numerous grants and awards including the 2006 Distinguished Alumni Award from the University of California at Berkeley, and grants from Creative Capital, NEA, NYSCA, and Pollock-Krasner Foundation. In addition to numerous exhibitions at galleries in Europe, Asia, and the US, she has shown internationally at museums including The Bibliotheca Alexandrina (Alexandria, Egypt), National Museum of Modern Art (Kyoto and Tokyo, Japan), Museum Het Domein (Sittard, Netherlands), Bibliotéca Nacional José Marti (Havana, Cuba), Whitney Museum of Art, MoMA P.S. 1, Queens Museum, Hudson River Museum (Yonkers, NY), and Katonah Museum (Katonah, NY). Beaumont has held academic positions at the University of California at Berkeley, SUNY Purchase, School of the Art Institute of Chicago, New York University, and Columbia University.

Communications Hall Gallery
Northampton Community College
Main Campus, 3835 Green Pond Road, Bethlehem, PA, 18020

Gallery hours: Mon-Thurs, 8 am-10 pm, Fri-Sat, 8 am-5 pm, closed Sunday.
Gallery contact: Thomas Schillea, 610-861-5062 or tschillea@northampton.edu.

For more information about the artist and information about print purchase, please send an email to:



34. William Pope.L, FF Alumn, on Artforum, Feb. 2015

An image of Pope.L’s art is on the cover of the Artforum, Feb. 2015. The text of the accompanying article follows below.


BY NOW, IT'S A TRUISM to say that there are more images than ever before, a digital flood of pictures that shows no signs of slowing. But what about all the images that are blocked, elided, or destroyed? What about the resurgence of a kind of iconoclasm—the annihilation of the image? Such an assault on the visual was apparent when stark video footage of Eric Garner being arrested and put in a choke hold in Staten Island, New York, seemingly made no difference in the case against the police who killed him; and it was all too clear when, just before this issue went to press, the artists and journalists of Charlie Hebdo in Paris were the victims of horrifying violence.

Here, art historian DAVID JOSELIT takes up the case of Garner and its challenge to the very concept of visual evidence or representation—and its denial of images and objects as evidence of fact. Joselit considers the possibility of critical and artistic practices that may counter such failures of representation, instead staging a refusal of representation—a refusal perhaps nowhere more potent than in the performances of WILLIAM POPE.L, whether the artist is literally ingesting and expelling information, in Eating the Wall Street Journal, 1991–2000, or, in Foraging (Asphyxia Version), 1993–95/2008, covering his head with a white plastic bag that he clutches tightly below his chin. Is this act of self-erasure a gesture of annihilation, as the word asphyxia suggests, or is it a strategic subtraction of the body from a sphere in which that body cannot be represented anyway—cannot be visible or evident, or is subject to censure and repression?

THE FAILURE IN DECEMBER 2014 of a Staten Island grand jury to indict the policeman who choked Eric Garner, an African American man accused of selling loose cigarettes on the street, delivered another kind of indictment: an indictment of post-Conceptual art. If the excruciating video showing Garner seized and relentlessly piled on by the police could not convince a jury, how can forms of aesthetic critique based on research and visual evidence be any more effective with a general public? While the life-and-death exigencies of American race politics should not be glibly equated with art’s more distanced forms of engagement, proponents of visual politics would do well to learn from the Garner case.

The pertinent art world discussion centers on forensis, as pursued by the Forensic Architecture project at Goldsmiths College in London and presented in an influential 2014 exhibition organized by Anselm Franke and Eyal Weizman at the Haus der Kulturen der Welt in Berlin. Weizman, principal investigator of the project, returns to the Latin roots of forensis—“pertaining to the forum”—in defining its procedures as a public debate over the evidentiary status of objects. One of the great promises of such a forum of things, as Weizman and his collaborator Thomas Keenan have argued, is that objects (including human remains) may belatedly testify to human rights violations. Weizman calls this capacity prosopopoeia, which he defines, via Quintilian, as “the mediated speech of inanimate objects.” I am drawn to this notion of the object as witness, and I think it possesses real explanatory force with regard to recent art that engages questions of contemporary biopolitics and new philosophical perspectives such as vibrant matter, animal studies, and speculative realism. To a certain extent, Forensic Architecture is an effort to come to grips with the political implications—and elisions—of these discourses.

Weizman has framed prosopopoeia as a critique of Bruno Latour’s “parliament of things,” a touchstone for new-materialist and posthumanist thought. “The idea of one forum of forums, the full house or the single parliament of things, is impossible,” Weizman has argued. “Every forum is also a border, the edges of an arena into which we can or cannot enter, in which certain types of enunciation and types of process are allowed or not.” But how can we account for the fact that the video of a police officer pressing his arm against Garner’s throat—a document that could not have been less ambiguous—did not “speak for itself” before the members of a grand jury? If such a visual artifact can so blatantly fail in the task of representation before the law, both politically, as the proxy for an absent victim, and rhetorically, as evidence, doesn’t this present a challenge to how we define the politics of art?

A productive inversion of prosopopoeia is encountered in Eating the Wall Street Journal, 1991–2000, an unsettling work realized by William Pope.L in different versions, including live action in the street, video documentation, gallery performance, and a related sculptural “artifact.” In performances at SculptureCenter in New York and at the Boston venue Mobius, both in 2000, Pope.L ingested pieces of the iconic financial newspaper, using milk and ketchup to make it more “palatable,” and then vomited it out. He did so dressed in nothing but a jockstrap, covered with flour, and seated on an elevated toilet, spitting globs of the masticated newspaper onto the floor around him. In a 2010 restaging at New York’s New Museum, assistants in Barack Obama masks, rather than the artist himself, did the eating. The work is deeply visceral—indeed, the mimetic response to watching someone vomit, or seeing the evidence thereof, is to retch oneself. In his limited-edition book published in conjunction with this work, Eat Notes, Pope.L declares: “Consuming is not just about taking in. No. It’s also about being taken in. A kind of inebriation. Delusion. Pleasure. Terror. An analgesic. All simultaneous.” In Eating the Wall Street Journal, the adjudication of information—or evidence—is not performed in a public forum (as in forensis) but rather takes place in the psychobiological theater of the body. Pope.L consumes the Journal but refuses to be consumed by it. Instead he expels it, in an instance of what philosopher Catherine Malabou has poignantly called “ontological spit.”

I am suggesting, then, that with regard to the Garner case, as well as to our own affairs in the art world, we need to be more skeptical of the ideological promises of representation. In his 2002 text Hole Theory, closely related to the procedures of ingestion and rejection performed in Eating the Wall Street Journal, Pope.L declares, “I do not picture the hole. I am the hole.” In other words, his art does not represent but rather suggests an elusive alternate space for consuming information—not the ostensibly democratic sphere of the forum, but the much more slippery, biopolitical locus, or threshold, of the hole. Indeed, a concept like “the hole” may present opportunities for those who, like Garner, cannot command presence in official forums. It is what Fred Moten calls being “in the break,” or what he and Stefano Harney theorize as the “undercommons” in their book, The Undercommons: Fugitive Planning and Black Study (2013). According to Harney and Moten, the undercommons refuses representation in favor of an insinuating force that pervades—surrounds—conventional politics: “We got politics surrounded. We cannot represent ourselves. We can’t be represented.” This perspective is difficult to grasp and should not be mistaken for abjection—or, even worse, another episode in the long history of primitivizing black bodies. Instead, Harney and Moten indicate a force that, like theorizations of the multitude, is founded in practices of everyday life that escape reductive categories of identity intended for easy media consumption. The hole might be a site of operations beyond such oppressive icons—what Weizman calls a border. An art of the hole would thus implode representation, as Pope.L has done, insisting instead on the right and capacity to decide how information is consumed. In other words, the presumed Enlightenment rationality of the forum—of forensis—is contradicted by the particularity of individual bodies.

It is tragic and deeply troubling that Garner could not be represented in that Staten Island courtroom. But it’s a fact. A fact that thinkers like Harney and Moten have confronted by recognizing another kind of space, beyond or beside democratic forums—a space that Pope.L has also imagined and inhabited. The police choked Garner—his last words were “I can’t breathe”—and he was silenced again in the courtroom. Forensis failed him, which is why Pope.L’s decision to vomit out information rather than trusting it to speak for itself is significant. Information is never innocent. Its toxicity depends on who is consuming—and who is consumed. David Joselit is distinguished professor at the graduate center of the City University of New York. His most recent book is After Art (Princeton, 2012).


35. David Everitt Howe, FF Alumn, in The New Yorker, Feb. 16.

The New Yorker, Feb. 16, 2015
Consider the Alternative
Participant Inc. is keeping the transgressive spirit of downtown alive.

The Lower East Side is no longer a haven for radiant misfits. The children of “Flaming Creatures,” Jack Smith’s notorious 1963 film, which was made in the neighborhood, have all been priced out. What the area does have is galleries, more than a hundred sprawling from Henry to Second Street, many appealingly scrappy and helmed by the young. Some dealers arrived with deep pockets and dreams of making them deeper, lured by the jet-set patrons of the New Museum, on the Bowery. Last spring, an outpost of Gagosian briefly popped up on Delancey, in a former Chase bank. Meanwhile, in a cavernous, unheated storefront on Houston Street, the dauntless Lia Gangitano, forty-seven, has been forging a vital link between the eclipsed downtown scene and today’s more polished art world. In 2001, she founded the nonprofit Participant Inc., equal parts gallery, performance space, screening room, and local clubhouse.

Last November, Participant introduced a new audience to the tortured glamour of Greer Lankton’s doll sculptures, most of them made in the eighties. It was the transgender artist’s first solo show in New York since her death, from an overdose, in 1996. The carefully fashioned figures, some of them life-size—of Diana Vreeland, Teri Toye, Jackie Kennedy, and others—were clearly labors of love, if too kitsch for some tastes. The heartbreaking high point of the show was the wealth of ephemera and photographs, including portraits of the fawnlike artist taken by Nan Goldin, as part of “The Ballad of Sexual Dependency,” her chronicle of the tarnished-dream demimonde. When Gangitano was approached about the project by Lankton’s widower, Paul Monroe, she told me recently, “it felt like the phone call I’d been waiting for all my life.” The show made several best-of-2014 lists.

The Lower East Side is still home to a few artists whose fluid identities can seem like experimental works of art in their own right: the cabaret virtuoso Justin Vivian Bond, the empyreal singer Antony (of Antony and the Johnsons), the feminist shock rocker Kembra Pfahler, the “pandrogynous” avant-gardist Genesis Breyer P-Orridge. Gangitano has worked with all of them. Not each exhibition is quite as homegrown; the current installation, a jaunty but ponderous arrangement of photograms, stylized clocks, and a wall of neon, is by the Stockholm-based artist and queer activist Emily Roysdon. (It was organized by the critic David Everitt Howe, who moonlights writing grants for the nonprofit.)

As talk of art fairs and auction results becomes deafening, Gangitano’s advocacy of the fringe feels radical. No one’s involved in Participant Inc. to get rich. As Gangitano has said, “money problems are the best problems to have, because when you get some money it goes away. It would be worse if I felt that the work we’re doing was irrelevant.”


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Goings On is compiled weekly by Harley Spiller