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Contents for October 02, 2017

1. Ayana Evans, FF Fund recipient 2017-18, on 14th Street, Manhattan, Oct. 14

"I Want Some Sugar with My Sh**"
Saturday, October 14, 2017
14th Street between University Place and 5th Avenue
New York, NY 10003

Art in Odd Places (AIOP) 2017: SENSE, a public art festival curated by Nicolás Dumit Estévez Raful (FF Alumn) with Rocío Aranda (El Museo) and Jodi Waynberg (Artists Alliance Inc), scheduled for October 12-15, 2017. Ayana Evans will perform the second installment of her new series: "I Want Some Sugar with My Sh**" on Saturday Oct 14th, 2-4 pm, as part of this festival. The performance will take place on the two blocks of 14th Street from University Place to 5th Ave.

This work was made possible, in part, by the Franklin Furnace Fund supported by Jerome Foundation, The SHS Foundation, and the New York City Department of Cultural Affairs in partnership with the City Council.



2. Galinsky, FF Alumn, at Cherry Lane Theatre, Manhattan, Oct. 15- Dec. 17

Golden Globe Nominated CHRIS NOTH, Drama Desk, Obie, and Olivier Award winner BARRY SHABAKA HENLEY and CHERRY LANE THEATRE
Present The Limited Engagement of "The Bench, A Homeless Love Story" a one man show

Written and Performed by Robert Galinsky
Directed by Jay O. Sanders

Beginning Performances October 15, 2017 - December 17, 2017
Press Opening is October 29, 2017 at The Cherry Lane Theatre

New York: The Bench stars Robert Galinsky and marks the New York directorial debut of Jay O. Sanders, it will begin its limited run at the Cherry Lane Theatre (38 Commerce Street) on October 15 and will initially run Sunday evening at 7pm through December 17, 2017, and will celebrate its press opening on Sunday, October 29. Tickets are $49 - $59 and can be purchased by visiting TheBenchPlay.com or by calling 866-811-4111. This production is being presented by Golden Globe Nominated Chris Noth, Drama Desk, Obie, Olivier Award winner Barry Shabaka Henley and Cherry Lane Theatre. The Bench is produced by Tony Award winning producer Terry Schnuck.

Based on true stories, The Bench, set in urban decay and rubble, explores the emotional heartbreak of five homeless characters and the catastrophic hysteria surrounding AIDs in the 1980's. The sparse set is accented with hand-drawn imagery, from Daphne Arthur's graphic novel adaptation of the play, and audio design is by world re-known composer and multi-instrumentalist Deep Singh. It's a unique and fresh solo theatre piece wherein one actor plays five characters, written in dialogue form, not traditional 'monologue black out, monologue black out' traditional solo theatre form.

The Bench has been called "effortless-really quite extraordinary." Backstage Magazine; "The Bench features ensemble work, being done by one human being, with sustainable characters that have incredible nuances. It is palpably and real." Anney Bonney, Curator at The Kitchen; 'Galinsky's street dwellers speak in their own voices, and their voices ring true." The New Haven Independent; "Not your normal kind of theatre... it keeps your head moving." The NY Amsterdam News; "Galinsky herds multiple personalities into an evening of furious poetic justice." New York Press.

Listing info:
The Bench
Written and performed by Robert Galinsky, directed by Jay O. Sanders
Original Graphic Images by Daphne Arthur; Audio Design by Deep Singh
October 15 - December 17, 2017
Playing Sundays at 7pm
Exceptions: NO Performances on November 5 and December 3
ADDED performance: Tuesday, December 5 at 7pm
The show runs 65 minutes, no intermission.
Cherry Lane Studio Theatre located at 38 Commerce Street in the heart of New York's West Village
Tickets are $49 - $59 and can be purchased by visiting TheBenchPlay.com or call 866-811-4111

special FF discount code for $20 off! It is simply 20off

For more info on The Bench
Robert Galinsky visit www.galinskyplace.com
and for the Cherry Lane Theatre visit www.cherrylanetheatre.org
Press Performances: Sunday, October 22 at 7PM; Sunday, October 29 at 7PM;
Sunday, November 5 at 7PM

Mr. Galinsky and Mr. Sanders are available for interviews.
To arrange interviews or press seats, please contact
JT Public Relations at (646) 481 - 6583 or email joe@jt-pr.net


BackStage Magazine has called ROBERT GALINSKY's acting "extraordinary & effortless" while High Times Magazine says Galinsky is "manic, deadpan & takes aim with psychotic precision." His favorite roles include: Mercutio in Romeo and Juliet and Solyony in The Three Sisters in New Haven Connecticut's "Free Shakespeare on The Green". Galinsky is a contributing editor to The Fresh Toast, is Head Speaker Coach for TEDxTeen, TEDxFultonStreet, and teaches writing and performance at Rikers Island Jail, through the non-profit Literacy for Incarcerated Teens and GalinskyCoaching.com. His work as an artist activist has been featured in The New York Times, Wall Street Journal, New York Magazine, and on "The VIEW," NPR, "ABC Nightline News" and many media outlets. More at www.galinskyplace.com.

JAY O. SANDERS (Director) most recently appeared at the Public Theater in a trilogy of new plays written and directed by Richard Nelson called The Gabriels; Election Year in the Life of One Family, with a company including his wife, Maryann Plunkett. The productions then toured the world, were filmed by WNET, and livestreamed on BroadwayHD. Before that, they also appeared together in Nelson's four-play series The Apple Family which was filmed and shown as well on WNET before touring Europe. A passionate Shakespearian, Sanders has also been seen in King Lear, Titus Andronicus, Twelfth Night, Hamlet, Midsummer Night's Dream, among others, as well as portraying George W. Bush in David Hare's Stuff Happens at the Public and Alfred Doolittle in Pygmalion at The Roundabout on Broadway. In 2015, his own play, Unexplored Interior, had its world premiere as the inaugural production of Washington D.C.'s Mosaic Theater. His long list of film credits includes JFK, The Day After Tomorrow, Glory, Tumbleweeds, Half Nelson, Edge of Darkness, and Revolutionary Road. Recent television includes "Sneaky Pete," "True Detective," "Blindspot," "The Good Wife," "American Odyssey," and "Person of Interest". His voice can be frequently heard narrating a long list of PBS documentaries, from WGBH's NOVA to WNET's "Secrets of the Dead".



3. Christy Rupp, FF Alumn, at Cross Contemporary Art, Saugerties, NY, thru Oct. 29


*the long emergency, from the Greek root pertaining to animals

Opening Reception Sat. Sept. 30th, 5-8pm Exhibition on view Friday, Sept 29- Sunday, Oct. 29

Cross Contemporary Art is pleased to present Christy Rupp: Catastrophozoic. The term Catastrophozoic, refers to an alternate classification of an era that emphasizes animal life rather than human existence This naming differs from the generally accepted term Anthropocene, which marks the age during which human activity has been the dominant influence on climate. Christy Rupp's solo show at Cross Contemporary Art focuses on the ways that humans are currently contributing to climate chaos with activities ranging from indiscriminate carbon emissions, water contamination and resource extraction and the threat these unchecked behaviors have on planet and its many life forms.

Christy Rupp explores these themes in paper collages and sculptures that unite the irony of art history's romantic vision of the natural world with the incongruity of watching nature fight back. In some of her works on paper, reproductions of Hudson River School paintings are bisected by train-pulled oil cars or a maze of leaking pipelines. Her welded steel and plastic sculptures study the vulnerablity of birdlife found through the lens of art history- from Frida Kahlo's frightened "Parrots" to Fabritius' captured "Goldfinch", to Miro's "Person Throwing a Stone at a Bird". Rupp constructs these birds from discarded plastic netting used in supermarkets for wrapping produce- materials that are discarded yet remain. This plastic refuse persists in the environment, threatening the digestive systems and habitat of wildlife. According to art writer Eleanor Heartney, Christy Rupp "captures the sense that we have entered a new era in which humans are redirecting natural history in a way that will be calamitous for all"

About Christy Rupp:
Christy Rupp has been on the forefront of urban ecology living and working in New York City and the Catskills for the past 4 decades. Her wry humor paired with a naturalist's curiosity had led her to explore the biosphere and its multi-layered systems.She has received grants from NYSCA, NEA, Art Matters INC., Anonymous Was a Woman, and a CALL grant from the Joan Mitchell Foundation. Christy Rupp has exhibited her artwork internationally and as an early participant of CoLab, is also part of Art History.

CHRISTY RUPP: CATASTROPHOZOIC opens with a reception for the artist on Saturday, Sept 30, 5-8pm and runs through October 29, 2017.

About Cross Contemporary Art: Cross Contemporary Art is a gallery dedicated to showing mid-career and established artists who have a connection to New York City, Hudson Valley and Catskills region. Open Thurs through Mon 12-6, Tues and Wed by appointment or chance. 99 Partition st Saugerties, NY 12477 Phone Gallery Director Jen Dragon 845.247.3122 for more information



4. Marina Abramović, Paik Nam June, FF Alumns, at National Museum of Modern and Contemporary Art, Seoul, Korea, thru Jan. 21, 2018

Reenacting History_Collective Actions and Everyday Gestures
September 22, 2017-January 21, 2018

National Museum of Modern and Contemporary Art, Korea
30 Samcheong-ro, Jongno-gu, Sogyeok-dong,
Hours: Monday-Sunday 10am-6pm,
Wednesday and Saturday 10am-9pm
T +82 2 3701 9500

Artists: Marina Abramović, Ai Weiwei, Allora & Calzadilla, Francis Alÿs, Chim↑Pom, Siobhan Davies & David Hinton, Willi Dorner, Dumb Type, Olafur Eliasson, Hirata Minoru, Hi Red Center, Ikemizu Keiichi, Jonouchi Motoharu, Kang Kukjin / Jung Kangja / Chung Chanseung, Kato Tsubasa, Kim Sung Hwan, Koizumi Meiro, Lee Kun-Yong, Lim Minouk, Gabriella Mangano & Silvana Mangano, Aernout Mik & Boris Charmatz, Nam Hwayeon, Okin Collective, Ono Yoko, Paik Nam June, Park Chankyong, Mika Rottenberg, Santiago Sierra, Song Dong, Hito Steyerl, Sung Neungkyung, Melati Suryodarmo, Tanaka Koki, Wu Tien-Chang, Samson Young, Zbig Rybczyński, Zhang Huan, Zero Jigen (38 domestic and international artists)

The exhibition Reenacting History_Collective Actions and Everyday Gestures will be held at the National Museum of Modern and Contemporary Art, Korea (MMCA) in Gwacheon, Korea, from September 22, 2017 to January 21, 2018.

Reenacting History is an international exhibition that focuses on how the body and gestures can, as an artistic medium, reveal social, historical, and cultural contexts and interest from the 1960s to today. The body is a place in the front line, where "I" form a relationship with others, and a contact zone through which "I" encounter various situations in the world. At the same time, it is a "storehouse of memory," where the past is inscribed, and a "social place," where biopolitics function through power, capital, and knowledge. Since the 1960s, many artists who sought to bring the realm of life into art and integrate the two favored the body as an artistic medium, because the body is the fundamental existence of human life from the past to the present.

Representing thirty-eight artists and collectives from Korea and abroad, this exhibition is divided into three parts, based on gestural approaches to our life stories and on artistic attitudes. Part 1, titled "Performing Collective Memory and Culture," illuminates works that recompose historical memory and cultural heritage through gestures. This section examines actions of Korean performance artists and Japanese avant-garde groups from the 1960 and 70s and how they used gestures to respond to and resist the particular socio-political conditions of the time. Part 2, titled "Everyday Gestures, Social Choreography," takes the perspective of "social choreography" to cast light on works after the 1960s, which brought everyday gestures into the context of art to highlight issues of reality and life. Part 3, titled "Performing Community," introduces works that use the body to reenact the social issues of our communities that arose amidst the rise of globalization after the late 1990s, as well as collective performances that involve intimate encounters of bodies and experiment with temporary communities based on collaboration and communication.

The gestures in Reenacting History record history that language failed to write down, history that cannot be summoned by language, and the history of trauma and absence that language cannot possibly bear. For this reason, "writing down history through gestures" could be an "alternative, resistant recording of history."

A variety of cultural programs including a series of lectures and symposiums will be held to help visitors better understand the exhibition. A lecture-performance titled 1960's Japanese Avant-garde Art and Performance Screening×Agitation is scheduled for Saturday, September 23, 2017. The performance will feature Kato Yoshihiro, the leader of Zero Jigen, and KuroDalaiJee, an expert on Japanese avant-garde art of the 1960s, from Fukuoka Asian Art Museum. On Saturday, November 4, 2017, a symposium on the exhibition Reenacting History will be held in collaboration with the Korean Society of Aesthetics and Science of Art, illuminating the social meaning of performance from an academic perspective. Details about the events are available on the MMCA, website (www.mmca.go.kr).
Organized by: National Museum of Modern and Contemporary Art, Korea (MMCA)



5. Thomas Waters, FF Alumn, at CDCP Gallery, Pittsburgh, PA, thru Dec. 2

Thomas Waters, FF Alumn
"May You Live in Interesting Times" curated by Vicky A Clark
CDCP Gallery
937 Liberty Ave, Pittsburgh PA 15222
September 22- December 2




6. Beverly Naidus, FF Alumn, at ONCA, Brighton, UK, Oct. 18

Please visit this link:
thank you.



7. Cassils, Xandra Ibarra, FF Alumns, at Stanford University, CA, Oct. 20

OCTOBER 20, 2017 - 11am, Anderson Collection at Stanford University
Vital Signs: Contemporary Performance Art Series is hosted by Stanford University's Theater and Performance Studies in 2017-2018 and curated by Los Angeles based artist Cassils. The primary objective of the series is to highlight and showcase underrepresented performance forms such as experimental performance art, durational art, and body art, among others, by artists from communities that remain invisible or underrepresented in mainstream performing arts. Cassils's curatorial vision is to present established performance artists alongside emerging artists. Each quarter, a pair of artists will visit Stanford for two days (Thursday-Friday). On October 19 and 20th, performance artist, photographer and essayist, Harry Gamboa Jr. will be in conversation with performance artist Xandra Ibarra. For more information visit: https://art.stanford.edu/courses/2017-2018-artstudi-256v



8. Carolee Schneemann, FF Alumn, at MoMA PS1, Long Island City, NY, Oct. 22, 2017-March 11, 2018

Carolee Schneemann: Kinetic Painting
October 22, 2017-March 11, 2018

MoMA PS1 will present the first comprehensive retrospective of the work of Carolee Schneemann (American, b. 1939) in the United States, bringing together over 300 works spanning her prolific six-decade career. As one of the most groundbreaking artists of the second half of the twentieth century, Schneemann's pioneering investigations into the social construction of the female body and the sexual and cultural biases implicit in traditional art historical narratives have had an indelible impact on subsequent generations of artists. Carolee Schneemann: Kinetic Painting will be on view from October 22, 2017 to March 11, 2018. Carolee Schneemann: Kinetic Painting begins with rarely seen examples of the artist's early paintings from the 1950s, charting their evolution into assemblages made in the 1960s-which integrated found objects, mechanical elements, and painterly interventions. As a central protagonist of the New York downtown avant-garde community, she explored hybrid mediums culminating in what she termed "kinetic theater." She was a co-founder of the innovative Judson Dance Theater and the first visual artist to choreograph for the ensemble.

During this period, Schneemann began to position her own body in her work with the intent of performing the roles of "both image-maker and image." Responding to representations of sexuality made predominantly from the perspective of male artists, Schneemann's provocative pieces foregrounded her body in ways that challenged prevailing attitudes about female sexuality. In parallel, Schneemann's outrage over the atrocities of the Vietnam War are starkly reflected in several of her works from the mid-1960s.

The exhibition grounds Schneemann's oeuvre within the context of her lifelong commitment to painting and action, tracing the early developments that would lead to her iconic performances and films from the 1960s and 1970s, through to her multimedia installations from the 1980s, 1990s, and 2000s exploring feminist iconography, intimacy, and personal loss, as well as political disasters, captivity, and the destruction of war.
The exhibition features several works of key historical significance that were recently acquired by The Museum of Modern Art, including the pivotal painting-construction Four Fur Cutting Boards (1963) and related photographic portfolio Eye Body: 36 Transformative Actions (1963), as well as the landmark installation Up to and Including Her Limits (1973-76).

Carolee Schneemann: Kinetic Painting is organized by the Museum der Moderne Salzburg. The exhibition is curated by Sabine Breitwieser, Director, Museum der Moderne Salzburg; and consulting curator Branden W. Joseph, Frank Gallipoli Professor of Modern and Contemporary Art, Columbia University, New York; and organized at MoMA PS1 by Erica Papernik-Shimizu, Associate Curator, Department of Media and Performance Art, The Museum of Modern Art; with Oliver Shultz, Curatorial Assistant, MoMA PS1.

Carolee Schneemann: Kinetic Painting originated at the Museum der Moderne Salzburg, Austria, from November 21, 2015 to February 28, 2016, and is currently on view at the Museum für Moderne Kunst Frankfurt am Main, Germany through September 24, 2017.
The catalog Carolee Schneemann: Kinetic Painting was published in conjunction with the exhibition in German and English editions. This major publication, the first of its kind on Carolee Schneemann's work, is edited by Sabine Breitwieser for the Museum der Moderne Salzburg and features essays by Sabine Breitwieser, Branden W. Joseph, Mignon Nixon, Ara Osterweil, and Judith Rodenbeck, as well as selected writings by Carolee Schneemann. Separate German and English editions, hardcover, 280 x 240 mm, 320 pp., Munich: Prestel.

Carolee Schneemann is a multidisciplinary artist who has worked in painting, photography, performance, film, video, mixed media, and installation. MoMA PS1 has a history of exhibiting her work: Schneemann performed Noise Bodies (1965) in 1983 as part of the exhibition PS1 Re-Opens the Sixties, and Four Fur Cutting Boards (1963) was displayed at the Museum in 1984. Schneemann has been the subject of solo exhibitions at the Musée départemental d'art contemporain de Rochechouart, France (2013); the Museo de Arte Contemporáneo de Castilla y León, Spain (2014); Dia:Beacon, New York (2011); and the New Museum of Contemporary Art, New York (1997), and group exhibitions at Museum of Modern Art, New York; Whitney Museum of American Art, New York; Haus der Kunst, Germany; and the Los Angeles Museum of Contemporary Art, Los Angeles; among others. Schneemann's work is included in museum collections around the world, including the Museo Nacional Centro de Arte Reina Sofía, Spain; Museum of Modern Art, New York; San Francisco Museum of Modern Art, California; Tate Modern, England; Centre Georges Pompidou, France; and Hirshhorn Museum and Sculpture Garden, Washington, D.C. Schneemann currently lives and works in upstate New York.
Major support is provided by Lonti Ebers.

Additional funding is provided by the MoMA PS1 Annual Exhibition Fund.
Press Contact: Molly Kurzius, (718) 392-6447 or molly_kurzius@moma.org press_momaps1@moma.org

For downloadable high-resolution images, register at MoMA.org/press. MoMAPS1.org • MoMA.org Hours: MoMA PS1 is open from 12:00 p.m. to 6:00 p.m., Thursday through Monday. It is closed on Thanksgiving, Christmas, and New Year's Day. artbook@MoMA PS1 is open from 1:00 p.m. to 5:30 p.m., Thursday through Sunday.
Admission: $10 suggested donation; $5 for students and senior citizens; free for New York City residents*, MoMA members and MoMA admission ticket holders. The MoMA ticket must be presented at MoMA PS1 within thirty days of date on ticket and is not valid during Warm Up or other MoMA PS1 events or benefits.
*Free admission as a Gift to New Yorkers made possible by the Anna-Maria and Stephen Kellen Foundation. Through October 15, 2017 all residents of New York's five boroughs receive free entrance to all exhibitions during regular museum hours; excluding concerts, fundraisers, and ticketed events. Upon arrival please present proof of New York City residency such as a driver's license, state-issued identification card or a New York City utility bill.

Directions: MoMA PS1 is located at 22-25 Jackson Avenue at 46th Ave in Long Island City, Queens, across the Queensboro Bridge from midtown Manhattan and is easily accessible by bus and subway. Traveling by subway, take either the E or M to Court Square-23 Street; the 7 to 45 Road-Courthouse Square; or the G to Court Sq or 21 St-Van Alst. By bus, take the Q67 to Jackson and 46th Ave or the B62 to 46th Ave.

MoMA PS1 Background: MoMA PS1 is one of the largest and oldest organizations in the United States devoted to contemporary art. Established in 1976 by Alanna Heiss, MoMA PS1 originated from The Institute for Art and Urban Resources, a not-for-profit organization founded five years prior with the mission of turning abandoned, underutilized buildings in New York City into artist studios and exhibition spaces. P.S.1 Contemporary Art Center, as it then was known, became an affiliate of The Museum of Modern Art in 2000.



9. Arlene Rush, Charles Clough, Barbara Rosenthal, FF Alumns, at Hudson Guild Gallery, Manhattan, opening Oct. 5

Opening Reception:

Thursday, October 5th

6:00 -7:30 pm

441 W. 26th Street
New York, NY
1:00 PM
4:00 PM
1:00 PM
4:00 PM

Denise Adler
Paul Barth
Sandra Bendor
MJ Bono
Elena Brady
Marissa Bridge
Robert Civello
Charles Clough
Denise Corley
Chris Costan
Liz Curtin
Elisa Decker
Vija Doks
Charles Dvorak
Bonnie Epstein
Camille Eskell
Patricia Fabricant
Erica Feld
Marty Friedman
Irene Gennaro
Jill Gewirtz
Karen Gormandy
Chris Goutos
Olga Garcia Guerra
David Hauptschein
Edward Herman
Amy Hill
Elisabeth Jacobsen
Blond Jenny
Michael Louis Johnson
Arleen Joseph
Deborah Renee Kaplan
Joanna Karatzas
Rick Krieger
Diana Kurz
Stephen Lack
Jung Nam Lee
Terri Lloyd
Dodnina Lois-Rubin
D. Dominick Lombardi
Ray Lopez
Barbara Lubliner
Jenn Martin
Brooke McGowen
Meryl Meisler
Tommy Mintz
Bill Murphy
Midori Okuyama
Bill Page
Dolores Payan
Grace Graupe Pillard
Marvin Piqué
Lola Planells
Paula Praeger
Elisa Pritzker
Fred Quintiliani
Carol Radsprecher
Judy Rifka
Bonnie Rosenstock
Barbara Rosenthal
Arlene Rush
Jeannette Sarpola
Barbara Schaefer
Carri Skoczek
Tony Setteducate
Sandra Shepps
Barbara Slitkin
Jonathan David Smyth
Frank Sofo
Helaine Soller
Susan Spangenberg
Paul Antonio Szabo
Elise Tak
Shira Toren
Deborah Ugoretz
Tami Uyama
Ed Valentine
Blossom Verlinsky
Miriam Wexler
Jeanne Wilkinson
JK Williams
Celeste Wiseblood
Jeff Wright
Chris Zeller
Rick Krieger
Jim Furlong



10. R. Sikoryak, FF Alumn, in The New York Times, Sept. 26

The complete illustrated article is at this link. Text only follows below.


The Wall Street Journal
'Law's Picture Books: The Yale Law Library Collection': Illustrating the Letter of the Law. From a 14th-century Italian diagram of kinship relations to a contemporary rendition of iTune's epic 'terms and conditions,' the odd but intriguing practice of expressing legal concepts in visual terms.

by Edward Rothstein
Sept. 26, 2017 5:17 p.m. ET
New York

Picture books about the law are as superfluous as songs about economics. In legal codices and textbooks, illustrations can even seem frivolous. Before visiting the Grolier Club's exhibition "Law's Picture Books: The Yale Law Library Collection," you might also believe this is as it should be: Justice typically devalues the visual. Not for nothing is Lady Justice blindfolded-as we see in many texts displayed at this unusual exhibition. The law library's rare book librarian, Michael Widener, has been collecting illustrated law books for the institution, and now he and his co-curator, the legal scholar Mark S. Weiner, have offered an eye-opening survey of that specialty.

Law's Picture Books: The Yale Law Library Collection
The Grolier Club
Through Nov. 18

The idea goes so strongly against the grain that it takes a while to see how distorted the grain has become. Yes, of course Justice is blind. And this is a virtue, since issues of appearance should be less important in rendering justice than matters of essence. Ideally, all surface phenomena-personality, taste (and given contemporary preoccupations, race and gender)-should be treated as distractions. What is important is the rational application of legal principles. This may even be one of the subliminal reasons many courtrooms don't allow image-making beyond the abilities of a sketch artist. Pictures, after all, portray surface, and thus may lie.

The illustrations here, though, are illuminating, suggestive, even essential. They range from a 14th-century Italian diagram of kinship relations to help determine when ecclesiastical law allows marriage, to a contemporary rendition of iTune's epic "terms and conditions" set into the mouths of comic-strip characters who vaguely resemble Steve Jobs [by R. Sikoryak]. These are not marginalia: They comment on the legal text, clarify it or undercut it. Such images have been created for legal professionals and for children, for lay readers and for courtroom display. As frontispieces, they proclaim the ideal of justice-in one 1609 Venetian example Lady Justice also becomes a representation of Venice, which considered itself an incarnation of her spirit. There are also images of crime rendered with suggestive clarity: A 16th-century Flemish volume by Joost de Damhoudere -"among the most richly illustrated books in the history of legal literature"-shows one image of citizens scurrying in the street as offal is poured from a chamber pot above their heads and another of men surreptitiously moving boundary markers.

Illustrations can also be invaluable. A 1580 Italian volume of "an influential treatise on alluvium and riparian rights by Battista Aimo" was apparently responsible for inspiring Mr. Widener to begin this Yale collection. We see images of water and altered land formations: As the water flows it deposits alluvium. What happens, then, to property rights? A late 18th-century Italian image measures five feet long when unfolded. It shows the river Po, "notorious for its floods-and for the legal problems those floods create." The river is dotted with references to legal cases. The Netherlands, as might be imagined, was figuratively flooded by studies of water law involving calculations of property lines in a continuously shifting landscape.

We see here, too, a 1580 edition of the "Bambergensis," the first systematic codification of a branch of law created for the Diocese of Bamberg, which became "the model for the criminal code of the Holy Roman Empire." The page to which it is open demonstrates tools and torture used in the punishment of capital crimes. It is unlikely the laws would have the same impact were these retributions not so picturesquely portrayed. A 1775 book, "On the Abolition of Torture"-we see its opening illustration-led to the abandonment of torture in Austria. Was this why, in 1801, Beethoven, as his musical style celebrated the powers of Enlightenment Reason, ended up dedicating his Opus 28 piano sonata to the book's author, Joseph von Sonnenfels ?

Along the way, too, we are teased by notorious cases in which illustrations depicted evidence. One image shows the knife wielded by a California Supreme Court justice, David S. Terry, during a fracas in federal court in which he was a witness supporting the claims of a San Francisco socialite; he was jailed for contempt by U.S. Supreme Court Justice Stephen J. Field. After Terry's release, he apparently threateningly approached Field, who, the exhibition tells us, shot and killed him. (Terry had earlier, in 1859, killed a U.S. senator in a duel; Field typically carried two pistols.) Illustration might also suggest a crime's sole remnants, as in the 1850 portrayal of a fractured skeleton. A Harvard Medical College professor had brutally murdered a Boston businessman and hidden his remains in a privy.

In the helpful catalog, Mr. Weiner notes that some contemporary scholars, using material in Yale's collection, are beginning to study imagery's function in the evolution of legal systems. One suggestion is that the contemporary decline in illustration reflects not greater clarity but a greater "degree of blindness" to human and cultural implications of the law. And who has not read the text of one law or another and not wished that its author had learned to diagram sentences if not the law's consequences? On the other hand, the exhibition includes a satirically illustrated tax code from 1944 occupied France; what Laocoön-like images might arise if something similar were attempted with the current U.S. tax code? We might be grateful we are spared such a rendition and left solely with that ever-expanding text.

-Mr. Rothstein is the Journal's Critic at Large.

Appeared in the September 27, 2017, print edition as 'Illustrating the Letter of the Law.'



11. Linda Sibio, FF Alumn, fall newsletter

Dear Friends & Colleagues:

Welcome to the fifth edition of the SIBIO bi-monthly newsletter about my online shop (www.crazyforaday.com) and adventures in that big thing in the conceptual sky called Art (www.lindasibio.com).

Currently, I am doing my Insanity Principle workshops again! These workshops were originally started in Los Angeles at the Los Angeles Theatre Center. They contain exercises that I invented for artmaking which bring forth a new and interesting guide to creating. These two-hour workshops will focus on performance, writing, and contemporary art through a series of techniques including fragmentation, interrupters, psychological opposites, and the psychological model as a method of acting.

The new series, presented by High Desert Test Sites, starts on Saturday, October 14th from 2:00 pm to 4:00 pm and will run every second Saturday of each month at the Copper Mountain Mesa Community Center in Joshua Tree. A $30 minimum donation is requested (all proceeds go to the artist). For questions and to reserve a spot, please email info@highdeserttestsites.com.

Check out High Desert Test Site's Instagram page for more photos of Linda's performances and past workshops.

I am also doing my second pop-up shop, this time at the Ace Hotel Clubhouse in Palm Springs on October 8th, starting at 11:00 am. For those who have looked at my site (www.crazyforaday.com), you will notice that I have lowered my prices with tees at $39.95 and hand painted vintage shirts now $49.95 (down from $60). At the upcoming Ace Pop-Up Fair, the shirts will go down to $29.95 and $39.95. I will be there in a special outfit as your host. The fair is free and open to all.



12. Einat Amir, Ana Mendieta, FF Alumns, at Thessaloniki Biennale, Greece, thru January 14, 2018

Please visit this link:
Thank you.



13. Victoria Keddie, Nina Sobell, FF Alumns, at Roulette, Brooklyn, Nov. 7

Optics 0:1 Combinations
Tuesday, November 7, 2017 @ 8:00 pm
Optics 0:1: Combinations is the premiere of the second annual multimedia festival directed by Victoria Keddie that examines modalities of creation, production, and performance involving video based technologies. This year's festival focuses on combinations of multi-media within the context of a live performance. Areas of focus include multi-channel video camera recording processes and live production, choreography of space and movement, and photographic sound.
>> Tuesday, November 7 @ 8pm
Nina Sobell revisits her 1972 work "Glass" for multi channel video camera, broken glass, and mirror, silicone, and projection.
Amy Ruhl performs "Between Tin Men," a multi-media performance, video, and installation project adapted from L. Frank Baum's The Tin Woodsman of Oz.
Samantha Crabtree performs new work for multi-channel broadcast.
Roulette, Manhattan
Tickets: $20/15 Online $25/20 Doors
Doors 7:00pm 120 minutes
Purchase Tickets
Artists: Amy Ruhl, Nina Sobell, Samantha Crabtree, Victoria Keddie
Genres: Film/Video, GENERATE
Related Performances
Optics 0:1: Combinations November 8, 2017
Optics 0:1: Combinations November 9, 2017




14. Mary Beth Edelson, FF Alumn, at Frieze London, UK, Oct. 5-8

Mary Beth Edelson
Frieze London
Sex Work: Feminist Art & Politics
Curated by Alison Gineras
Stand S2
Regent's Park
October 5 - 8, 2017



15. Jay Critchley, FF Alumn, at Harvard University Oct 11 and more

I will be giving a public talk at Harvard University Oct 11, 4-6pm as part of the Cultural & Humanitarian Agents Seminar and Rx: Arts & Global Health. www.jaycritchley.com
The recently published Resistance Coloring Book includes an image of my Blessed Virgin Rubber Goddess project: www.resistancecoloringbook.com
The Santa Fe Art Institute is focusing on Equal Justice and I'll be a resident in October and November. My project: The Whiteness House - tarred and feathered. www.sfai.org
The 30th annual Provincetown Swim for Life & Paddler Flotilla on September 9, which I direct, raised an estimated $250,000 for AIDS, women's health & the community, and $4.5M since 1988: www.swim4life.org

Be well, Jay
Jay Critchley
Join mailing list



16. Susana Cook, Annie Lanzillotto, Salley May, Simba Yangala, FF Alumns, at Dixon Place, Manhattan, Oct. 7

by Susana Cook
Music by Julian Mesri
A pretty ordinary white nationalist family falls into a muddy and desperate identity crisis when they are attacked by La Contaminación Cultural. Their sense of language, grammar and origin gets altered, making them confused about who they really are.

Cast: annie lanzillotto, salley may, michael burke, tess altman, kathie horejsi, hjordis lynn, moira cutler, mistah coles, simba yangala, Juan Reyna, Rey Asher, Alexandra Pinel, Julia Cavagna and susana cook

Saturday October 7th. 7:30 pm at Dixon Place

Friday October 13th at BAAD, Bronx Academy of Arts and Dance



17. Charles Clough, FF Alumn, now online









18. Susan Newmark, FF Alumn, in Arts Gowanus 2017, Brooklyn, Oct. 21-22

I will be participating in Arts Gowanus 2017! Please stop by on October 21st or 22nd to say hello and see my work.
best, Susan

Saturday, October 21, 12pm - 6pm
Sunday, October 22, 12pm - 6pm

540 President Street (between 3rd and 4th Avenues)
Brooklyn, NY
Square Dot Plus Studios, Lower Level

Gowanus Open Studio 2017 is presented by Arts Gowanus, a non-profit organization, an organization of artists and arts organizations working together to support each other, to connect to our community, and to ensure the Gowanus Canal neighborhood continues to be a thriving and creative community of art-makers and art-appreciators.



19. Jessica Hagedorn, Robbie McCauley, FF Alumns, at CUNY Graduate Center, Manhattan, Oct. 5

Dear Friends,

Please spread the word about this fabulous & free public event about women of color in theatre & performance hosted by Daniel Alexander Jones this coming Thursday, Oct. 5th:


That Went Like This and This Went Like That: Daniel Alexander Jones convenes an intergenerational conversation among several members of one extended-family-constellation of artists of color in avant-garde performance and experimental theatre. A conjuring. An invitation to communion. A dance among alternate histories, rumors, and surprising connections. A little bit of fussing. A chance to ask Robbie's question, "who are your people?" and to wonder, together, "why does it matter?" Featuring vanguard artists Vinie Burrows, Robbie McCauley, Jessica Hagedorn, along with Helga Davis, Rhonda Ross, Stacey Karen Robinson, Mayaa Boateng and more!

Daniel Alexander Jones's wildflower body of work grows in relationship to a wide range of audiences. Duat premiered at Soho Rep in 2016 to critical acclaim. His other performance pieces and plays include Radiate, Phoenix Fabrik, Blood:Shock:Boogie, Bel Canto, and the musical, Bright Now Beyond, written with composer Bobby Halvorson; and his multi-chapter series of solo autobiographical performances, The Book of Daniel, made with musician Walter Kitundu and director Tea Alagic. His performance, Black Light, featuring his alter-ego Jomama Jones, will run as part of the Public Theater's 2017-2018 season at Joe's Pub. Daniel was named a 2015 Doris Duke Artist, in recognition of his risk-taking practice, and a 2016 USA Artist Fellow.


Wednesday, October 4 - Friday, October 6, 2017
The Martin E. Segal Theatre Center at The Graduate Center, CUNY is pleased to present the fourteenth annual PRELUDE Festival. Dedicated to artists at the forefront of contemporary New York City theatre and performance, PRELUDE 2017 features an array of artists working in theatrical and interdisciplinary performance. The festival gives audiences and artists a survey of the current New York moment.
Inspired by the DIY maker movement, curator Andrew Kircher has assembled a program of exciting new works-in-process, conversations, new scholarship, and skills-building workshops. By merging the critical with the creative, PRELUDE will provide a space for artists to share, engage, and discover emerging practices in form, craft, and technology.
The festival, which is free and open to the public, is held in various locations throughout The Graduate Center, CUNY (365 Fifth Avenue at 34th Street, New York, NY 10016), including The Martin E. Segal Theatre, The Elebash Recital Hall, and The James Gallery.
Follow us on Facebook, Twitter and Instagram @preludeNYC and join the conversation using #prelude17!
We livestream many of our events. Check out theSegalCenter.org/Home.
PRELUDE 2017 is made possible in part with public funds from Creative Engagement supported by New York State Council on the Arts with the support of Governor Andrew Cuomo and administered by Lower Manhattan Cultural Council.
Lower Manhattan Cultural Council empowers artists by providing them with networks, resources, and support, to create vibrant sustainable communities in Lower Manhattan and beyond.



20. LuLu LoLo, FF Alumn, on 14th Street, Manhattan, Oct. 13-15

LuLu LoLo as Mother Cabrini, Saint of the Immigrants offers Blessings and Compassion to passersby on her pilgrimage along the path of 14th Street. This performance will honor the many immigrants in the world who leave (flee) one land for another.
Opening Reception:
Friday, October 13, 2017, 6-8pm 14th Street between Seventh and Eighth Avenues

Saturday, October 14, 2017 2-4pm Southside of 14th Street between Sixth and Eighth Avenues
Sunday, October 15, 2017 2-4pm Southside of 14th Street between First and Third Avenues

Mother Cabrini sailed from Italy to New York City in 1899 to ease the suffering of the Italian immigrants. LuLu has performed as Mother Cabrini in Rome and Campagna, Italy; Paris, France; New Orleans; and New York. www.lululolo.com

Part of Art in Odd Places 2017: SENSE curated by Nicolás Dumit Estévez Raful with Rocío Aranda-Alvarado (El Museo del Barrio) and Jodi Waynberg (Artists Alliance Inc) artinoddplaces.org "

LuLu LoLo
Website: lululolo.com
Facebook: LuluLoloProductions
Facebook: Where Are the Women?
Twitter: @FabLuLuLoLo
Instagram: TheLuLuLoLo



21. Doug Beube, FF Alumn, at The Center for Book Arts, Manhattan, opening Oct. 6

The Internal Machine
Curated by John Roach
The Center for Book Arts
28 W 27th St, 3rd Floor NYC
October 6 - December 16, 2017
Opening Reception
Friday October 6th 6-9pm

Doug Beube
Ranjit Bhatnagar
András Böröcz
Caroline Bouissou
Gillian Brown
Brian Dettmer
Juan Fontanive
Arnaldo Morales

Bruno Munari
Alexander Rosenberg
Claudia Schmitz
Ward Shelley and Douglas Paulson
Kaethe Wenzel
Benjamin Wright
Nick Yulman
Mary Ziegler



22. Jacki Apple, FF Alumn, now online at thisisfabrik.com

Dear Friends and Colleagues
I am thrilled to announce the launch of my new column Peripheral Visions: Perspectives on Culture, Media, and Performance on the Fabrik Magazine website thisisfabrik.com. This online platform gives me the opportunity to write about all forms of time-based works, and discuss them within both a larger historical perspective and a contemporary cultural context with greater frequency. I hope to post a new essay every 4 to 6 week.
Now online is an Intro to the column and the first article Bearing Witness and Being Present discussing a performance by choreographer Jessica Emmanuel and the film Detroit in relation to racism in America then and now. http://thisisfabrik.com/peripheral-visions/ Check it out. And please add it to your bookmarks.
Best regards,



23. Edward Gomez, Ray Johnson, John Cage, Andy Warhol, FF Alumns, now online at hyperallergic.com

Osaka, Japan
Late Saturday night, Sept 30, 2017

Dear friends and media colleagues:

I just arrived in Japan. Back in the USA, my article about the American artist Ray Johnson, who died in 1995 and whose collage works are now on view in a superb group exhibition at David Zwirner's new gallery on Manhattan's Upper East Side (at 34 East 69th Street), has just been published in the "Weekend" edition of the arts-and-culture magazine HYPERALLERGIC.

Zwirner is presenting a selection of Johnson's works in cooperation with Adler Beatty, the new art-advisory firm in New York founded by Frances Beatty and her son, Alexander Adler. Beatty has long overseen Johnson's estate and previously worked at Richard L. Feigen & Co., where one of her focuses was on Johnson's work.

This article looks at the considerable momentum that has developed around Johnson's artistic legacy, as interest in and research activity regarding his art have notably increased, as have exhibitions and publishing projects examining his diverse accomplishments and his influence on other artists.

You can find my HYPERALLERGIC article here:

I send you all best wishes!





24. Angel Nevarez & Valerie Tevere, FF Alumns, fall events

Angel Nevarez & Valerie Tevere
Fall 2017

Dear Friends and Colleagues,

Sending well wishes to all. We'd like to share with you current and upcoming exhibitions and events happening this Fall.

Valerie & Angel

September 2 - October 15, 2017
Touching From A Distance

Grand Central Art Center
125 N. Broadway
Santa Ana, CA

September 30, 2017 - Jan 28, 2018

Taxispalais Kunsthalle Tirol
Maria-Theresien-Straße 45
6020 Innsbruck, Austria

Opening Reception: September 29, 7pm

With works by Lawrence Abu Hamdan, Nicholas Bussmann & Natascha Sadr Haghighian, Edith Dekyndt, Annja Krautgasser, Ali Meer Azimi, Ute Müller, Ulrich Nausner, Angel Nevarez & Valerie Tevere, Natascha Sadr Haghighian.

October 15, 2017
WTF Do We Do Now?

Creative Time
Sunday, October 15, 2017
10am - 7pm
Pioneer Works, 159 Pioneer Street
FREE with registration

October 21, 2017
The Wave Farm 1997-2017 Anniversary Show -Twenty Performances for Twenty Years

Saturday, October 21

Fridman Gallery
New York, NY




25. Cassils, FF Alumn, in The New York Times, Sept. 15, and more

Cassils, FF Alumn, recent articles:

New York Times

Out Magazine:

Huffington Post

Creative Capital Blog:



26. Cassils, Pablo Helguera, Naeem Mohaiemen, FF Alumns, now online

mentioned in this Artnet article: https://news.artnet.com/art-world/iconic-artworks-21st-century-1092800



27. Irina Danilova, Linda Mary Montano, Nicolás Dumit Estévez Raful, FF Alumns, at OkNo Contemporary Art Gallery, Chelyabinsk, Russia, thru Oct. 13

[quid pro quo]

Irina Danilova
Linda Mary Montano
Nicolás Dumit Estévez Raful

September 22 to October 13
OkNo Contemporary Art Gallery,
Chelyabinsk, 49A Soni Krivoy Street

Presented by project 59 and curated by Svetlana Shlyapnikova



28. Terry Braunstein, FF Alumn, at The Packard, Long Beach, CA, opening Oct. 7

Dear Friends and Family,

If you find yourself in Long Beach this Saturday evening, check out the First Biennial of PUMP, a multi-venue, multi-sensory art exhibition taking place all over the city. Attached below is the press release with answers to some of your questions (the rest are at lbpump.org), and a glimpse at my installation, Heart Man, which will be at the Packard Building.

The Packard
Packard Motors Building (1926)
205 E Anaheim Street (Anaheim and Locust)
Long Beach, CA 90813.

Opening Reception, Saturday, October 7, 5pm - 10pm
Sunday October 8, 12pm - 4pm
Friday October 13, 5pm - 10pm
Sunday October 15, 12pm - 4pm
Closing Reception, Saturday, October 21 5pm - 10pm

Hope to see you there!

With my best,




Goings On is compiled weekly by Harley Spiller