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Contents for October 30, 2017

Diane Torr, FF Alumn, celebration of life, Dixon Place, Manhattan, Nov. 19

A celebration of the life of Diane Torr will be held on Sunday, November 19th, at Dixon Place, 161 Chrystie Street, New York. Doors will open at 3:30 PM. The program will commence at 4:00, with Martha Wilson serving as MC. A new drink, the Torrnado, has been created in her honor, and will remain on Dixon Place's bar menu. There will be an opportunity during the second half of the program for audience members to sign up to relate their memories of Diane. This celebration is free of charge and all are welcome!



1. Martha Wilson, FF Alumn, now online at www.papercitymag.com

Please visit this link:


thank you.



2. Chin Chih Yang, FF Alumn, at Queens Museum, Nov. 18, and more

Ming Chuan Huang

a new feature-length documentary of the multidisciplinary artist Chin Chih Yang

Premier screenings
The Queens Museum, theater, Flushing Meadows, Queens, NY
Saturday, November 18, 2 pm
Q&A and reception after screening

Anthology Film Archive, 32 2nd Avenue, Manhattan
Sunday, November 19, 7pm
Q&A and reception after screening

Renowned Taiwanese filmmaker Ming-Chuan Huang partners with Taiwanese American performance artist Chin Chih Yang to explore the artist’s lifelong focus on the culture of waste. FACE THE EARTH puts viewers right next to Yang as 30,000 aluminum cans are dumped on his head to call our attention to the vast amount of waste each of us creates - the average person uses and discards 30,000 cans in their lifetime! Sit alongside Chin Chih and passersby in New York City’s storied Union Square, on a giant block of ice and ponder the possibility that the polar ice cap will be gone by 2050. Watch the public participate with the artist to help him create his Giant Can Family at the Contemporary Art Museum of Taipei. Learn how he makes sturdy whole cloth out of discarded potato chip bags and gain insight into how each of us can FACE THE EARTH and contribute to her resuscitation.

This 85-minute documentary film intersperses scenes of the artist at work with in-depth interviews with Tom Finkelpearl, The Commissioner of Cultural Affairs of the City of New York; Dr. Martha Wilson, Founding Director of Franklin Furnace Archive; Michael L. Royce, Executive Director of the New York Foundation for the Arts, Robert C. Morgan, Ph.D. - Artist/Art Critic, Steve Cannon - A Gathering of the Tribes, Nicolás Dumit Estévez Raful – artist, Jeffrey Grunthaner – writer, James Leonard – Artist, John Downing Bonafede – Artist, John Ahearn – Artist, Manfred Kirchheimer - film maker / professor of film at SVA, Heidi Jain – photography teacher and others. Directed and Produced by Huang Mingchuan, and produced by Formosa Filmedia Company, FACE THE EARTH includes footage by Annie Berman, Wang Yi Chang, Ray Huang, Liu Kuanting, Wang Shau-gung, Nick McGovern, Sen-I Yu, Doll Chao, Johanna Naukkarinen, Jing Wang, Susan L Yung and others. Photography by Rodrigo Salazar, John Bonafede, John Ahearn, Justen Ladda, Tom Otterness, Julie Lemberger and others.

Organizations which have presented and supported Chin Chih Yang's work include Lower Manhattan Cultural Council, Asian American Art Alliance, Bronx Art Council, Queens Art Council, FiveMyles, State Island Art Council, Brooklyn Art Council, Flux Factory, Figment NYC, Panoply Performance Labs, Exit Art, CUNY John Jay College of Criminal Justice, Art Omi, Franklin Furnace Archive, New York Foundation for the Arts, New York State Council on the Arts. Byrdcliffe Art Colony, Crystal Foundation, Taiwan Center, Taiwan National Culture and Arts Foundation, Taiwan Cultural Center of New York, Queens Media Arts Development, Taiwanese Association of America, Passport to Taiwan, Chungyu Institute of Technology, National Taiwan University of the Arts, Environmental Protection Department of New Taipei City, Taiwanese American Arts Council, International Chinese Fine Arts Council, NY Biennial, Art Asia Pacific, School of Visual Arts, and General Electric.

FACE THE EARTH is sponsored by the Ministry of Cultural Affairs of Taiwan, and copyrighted 2017 by Ming-Chuan Huang and Chin Chih Yang

About Chin Chih Yang
Multidisciplinary artist Chin Chih Yang was born in Taiwan, and has resided for many years in New York City. He holds degrees from Pratt Institute and Parsons School of Design. Among other honors, he has been awarded grants by The New York State Council on the Arts, the New York Foundation for the Arts, Lower Manhattan Cultural Council, Franklin Furnace Archive, MacDowell Colony and more. Yang’s interests in ecology and constructed environments have resulted in interactive performances and installations in the United States, Poland, Finland, Austria, Germany, Taiwan, Singapore and Hong Kong. He has exhibited/performed at Rockefeller Center, the United Nations, Union Square Park, The Queens Museum, the Godwin-Ternbach Museum, Exit Art, Flux Factory and in 2016 the Museum of Contemporary Art, Taipei hosted a major retrospective. All told, Yang strives to lead audiences to a more direct awareness of the effects of contemporary technology and engender compassion for all humanity.

About Ming-Chuan Huan
Born in Chiayi, Taiwan in 1955, Huang Ming-Chuan lives now in Taipei. Graduating from the Department of Law of National Taiwan University, he left Taiwan to study Lithographic Printmaking in Art Students League of New York and Fine Arts and Photography at Art Center College of Design in Los Angeles. Huan’s feature film THE MAN FROM ISLAND WEST claimed an Excellent Cinematography Award at Hawaii international Film Festival and a Silver Screen Award at Singapore international Film Festival in 1990. In 1998 his FLAT TYRE was awarded Best film in the non-commercial category at Taipei Film Festival and Jury Award at the Golden Horse Festival, Taiwan. As a documentary director, Huang has made numerous documentaries on art subjects and won the first Taishin Arts Award’s Visual Arts Prize in 2003. He has served as a board member of Taiwan’s National Culture and Arts Foundation (2000-03), National Film Archive Foundation (2002-05), Public Television System Foundation (2005) and CTV (2008-present). Huang was chairman of international jury of Taishin Arts Award’s Visual Arts Prize (2005), and feature length competition juror of Taiwan International Documentary Festival (2008). He was elected as Chairman of the National Culture and Arts Foundation in early 2008. Ming-Chuan has been the artistic director of the Chiayi City International Art Doc Film Festival since 2014.

For more information please contact Harley Spiller, 917-553-4831



3. Matthew Geller, FF Alumn, on Myrtle Avenue, Brooklyn, opening Nov. 4

I ought to
A New Public Artwork in Brooklyn
by Matthew Geller

Saturday, November 4th
1:00-3:00 PM

Myrtle Avenue Sidewalk Plaza
550 Myrtle Avenue, Brooklyn, NY 11205
(btw Emerson Place & Steuben Street

Commissioned by the City of New York Department of Cultural Affairs Percent for Art Program, the Department of Transportation, and the Department of Design and Construction.

I ought to is a trio of round stools capped by a concave canopy made of corten steel and cast glass. The canopy is a witty conflation of the pedestrian and the sacred: a 19th century illuminated manhole cover enlarged to the size of a rose window, a standard feature of gothic cathedrals. Small steel medallions and linear braids also adorn the underside of the canopy, much the same way they are used on manhole covers for both functional and decorative purposes. On rainy days, water drains from the center of the canopy through a 24-inch oculus, creating a diminutive passive water feature in the middle of the work. At night, a spotlight mounted on a nearby lamppost illuminates the glass.

For the past 15 years Matthew Geller has worked with a visual vocabulary that doesn’t immediately telegraph its status as art. As a starting point, he uses blemishes, sites, and vernaculars that have been marginalized in some form and then retrofits these abject artifacts to create micro public squares. His work has been described in various ways, from “urban earthworks” to “industrial baroque settees.” The idea is to surprise while fostering a sense of community around an unlikely object or site.

Contact: mbg@ix.netcom.com www.matthewgeller.com



4. Roberta Allen at Minus Space, Brooklyn, opening Nov. 4, and more

Bomb Interview now online.


November 4 – December 23, 2017
Opening: Saturday, November 4, 6-8pm
16 Main Street, Suite A, Brooklyn, NY 11201
www.minusspace.com | info@minusspace.com | 718.801.8095
Hours: Wednesday-Saturday 11am-5pm + by appointment
DUMBO | corner of Main + Water
A/C to High Street | F to York Street | 2/3 to Clark Street

MINUS SPACE is pleased to present the exhibition Roberta Allen: Some Facts About Fear. This is the New York City-based artist and writer’s second solo exhibition at the gallery and it will present a new suite of works on paper and one sculptural installation.
For five decades, Roberta Allen has produced conceptually-driven work in a variety of media, including drawing, collage, photography, printmaking, artist books, and installation. Her groundbreaking work produced during the 1970s often merged performance, photography and language, revealing wholly unique forms that hybridized and advanced the discourse of Post-Minimalism, Conceptual, Feminist, and Performance Art.

Allen’s current exhibition will premiere two new, multi-faceted works by the artist: Some Facts About Fear and City of Dying Dreams. Expanding upon an earlier body of work she originally produced in 1980, Some Facts About Fear consists of 40 works on paper produced with an array of mixed media materials, including coffee, marker, graphite, and colored pencil. Merging visual image and verbal description, the work combines conceptual diagrams, as well as instances of representational imagery, such as a handgun, glass of wine, butterfly, ice cream sundae, and a couple French kissing, alongside snippets of handwritten, descriptive text. Some Facts About Fear will be installed across all three walls of the gallery in a single horizontal frieze.

In the center of the gallery, Allen will also present a new sculptural installation entitled City of Dying Dreams on an unadorned, low-lying MDF plinth. The work consists of approximately 100 vertical forms, often resembling fanciful architectural towers intricately assembled out of untreated wooden shapes commonly used in children’s model kits and craft projects. The towers vary widely in size and appearance, and are presented densely packed together on the pedestal. Some towers stand tall while others lean precariously against each other or are knocked over entirely and lie on their sides.

For further information about Roberta Allen, her exhibition, or available artworks, please contact the gallery.

Available artworks can also be viewed on our Artsy page: www.artsy.net/minus-space.

Roberta Allen (b. 1945, New York, NY) is a New York-based visual artist and writer. Allen has travelled widely throughout her career. She lived and worked in Europe, and later travelled in Central and South America and West Africa. Since the late 1960s, Allen has mounted more than two dozen solo exhibitions, including two at MoMA/PS1 and four at the legendary John Weber Gallery (both NYC), where she was represented during the 1970s and early 1980s. She has also mounted one-person exhibitions at Franklin Furnace (NYC); The Athenaeum Music & Arts Library (La Jolla, CA); Stadtische Galerie im Lenbachhaus (Munich, Germany); and Perth Institute of Contemporary Arts (Perth, Australia), among others in the United States and abroad.

Her work has been included in countless group exhibitions at museums worldwide, including the Museum of Modern Art, Brooklyn Museum, Queens Museum (all NYC); Albright-Knox Art Gallery (Buffalo, NY); Aldrich Museum of Contemporary Art (Ridgefield, CT); Worcester Art Museum (Worcester, MA); Baltimore Museum of Art (Baltimore, MD); Bibliothèque nationale de France (Paris, France); Wiener Secession (Vienna, Austria); Museo de Arte Contemporanea (Sao Paulo, Brazil); Museo Nacional de Artes Plasticas (Montevideo, Uruguay); and National Art Gallery (Wellington, New Zealand), among many others.

Her work is included in collections, such as the Metropolitan Museum of Art, Cooper-Hewitt National Design Museum (both NYC); Wadsworth Atheneum (Hartford, CT); Yale University (New Haven, CT); Worchester Art Museum (Worchester, MA); Cincinnati Art Museum (Cincinnati, OH); Bibliothèque nationale de France (Paris, France); Museo del Novecento, Milan, Italy; Stadtische Galerie im Lenbachhaus (Munich, Germany); and Art Gallery of Western Australia (Perth, Australia).

In addition to her visual work, Allen is an accomplished writer who has been widely published since the 1980s. This includes her brand new book The Princess of Herself (Pelekinesis, 2017), as well as three short story collections (The Traveling Woman, The Daughter, Certain People), a novel (The Dreaming Girl), a memoir (Amazon Dream), and three writing guides (Fast Fiction, The Playful Way to Serious Writing, The Playful Way to Knowing Yourself). Her stories, memoirs, essays, and articles have been included in more than a dozen anthologies and more than 300 magazines and journals. Allen has received writing awards from the National Endowment for the Arts, New York State Arts Council, Yaddo, and MacDowell Colony, among others.

Founded in 2003, MINUS SPACE presents the past, present, and future of reductive art on the international level.
Artsy artsy.net/minus-space
Instagram instagram.com/minus_space
Facebook facebook.com/minusspace
Twitter twitter.com/minusspace



5. Betty Tompkins, FF Alumn, at Halsey McKay Gallery, East Hampton, NY, thru Jan. 6, 2018

I hope to see you there.

October 28, 2017 - January 6, 2018 | 79 Newtown Lane, East Hampton, NY, 11937
OPENING RECEPTION: Saturday, October 28, 4 - 6 PM

Born in 1945, Betty Tompkins has been painting since the late 60’s. After a period of experimentation in the Abstract Expressionist vein, she undertook the famous Fuck Painting series (working on it until 1974, and then again after 2003): a body of work widely unknown until a 2002 exhibition in New York. Without taking any moral position, these photorealist paintings represent genitalia and erotic acts, including penetration. They were conceived in the context of the 1970’s avant-garde scene, when art history was still perceived as a kind of linear path, with various parties advancing new and exploratory esthetic propositions, indifferent to the marketplace but deeply engaged in an intense political and intellectual discussion taking place among a handful of dedicated amateurs (critics, gallerists and, principally, the artists themselves). Betty Tompkins’s paintings, however, had an impact beyond the frontiers of the discipline: condemned by feminists and subjected to censure, her work faced (and continues to face) diverse forms of contestation that Tompkins accepts without compromising. “I’m 66 years old. It’s not that I’m a control freak. But I’ve always been an outsider. I’m happy to go along with things, but sometimes I get a proposal and it just doesn’t sit well with me. My father was on the left politically. When I was a kid the FBI used to follow me to school. One of my family’s jokes is that as a child my first full sentence was, “Do you have a search warrant?” This was the era of McCarthy. I’ve always been an outsider. Even as a child.”1

Born in 1978 and working as a painter since the beginning of the 21st century, Jean-Baptiste Bernadet’s work has taken shape in a different context, where the idea of the end of the avant-garde has been curiously accepted, the market is sprawling and aggressive, lnstagram likes have replaced critical discussion and esthetic debate has been added to the endangered species list – in spite of spectacular charity auctions aimed at saving the planet. His paintings are no more photorealist than they are realist or even figurative – because they can also be seen as representing painting itself, taking the medium as their subject. They seek to establish a dialogue with the history of painting rather than with screensavers, and evidence a choice to address image production in a way that, according to the artist, is not personal. “I don’t care especially about painting, even if this is what I’m doing and even if I like a lot of painting as a viewer like any other. There’s no position in what I’m doing, I’m not defending or advertising anything. I didn’t choose painting versus something else, I just probably found myself comfortable doing it in order to say what I have to say.”2 In his paintings, which elicit no debate outside the field of visual arts and very little within it, an uninhibited relationship with seduction serves as a leading weapon.

Very little connects these two artists when considering the context surrounding the production of the work. 35 years separate them – much more than the oft-discussed age differences between the current presidents of France and the United States and their wives – and in the intervening decades, their discipline has changed to such an extent that their practices could appear wholly unrelated. It was Jean-Baptiste Bernadet who brought to my attention that, in the exhibitionThe Shell 3 that I curated in 2015, I had hung both his paintings in the show next to works by Betty Tompkins. It wasn’t the fruit of some deeply thought-out strategy, but I was vaguely conscious of the choice – I am convinced that to appreciate works of art, as Catherine Millet wrote, it is beneficial to be in a state similar to that of the psychoanalyst’s “free-floating” listening. However, as for specifying exactly why… The fact that everything would à priori set these works in opposition wouldn’t necessarily dissuade a curator from hanging the paintings next to each other. In fact, it seemed to me that, in doing so, the disparity in their production contexts, the generational divide of the artists, and their diverging ambitions fell away, revealing two ways of painting, and two precise means of dialoguing with the history of the medium. Brutally exposing their painterly differences seemed precisely the means of emphasizing the importance of painterly craft to both. Bernadet, for example, shuns common tools of today’s painters such as silkscreening and laser printing while Tompkins’s paintings, when first produced, also marked a choice to go against the grain. Judging them on their appearance, the paintings from today could have been executed thirty years ago, and vice versa: they seem even more contemporary than those of Jean-Baptiste Bernadet. Both maintain what would seem to be a serene relationship with time, establishing a form of timelessness in the work, or at least an aspiration toward this state.

The blurriness in Betty Tompkins’s work finds a worthy interlocutor in Jean-Baptiste Bernadet’s retinal attacks: both inflict a particular, technical ocular exercise. The soft modeling of the body that results from the blurriness of the image in Tompkins’s work meets a form of flagrant sensuality in Bernadet’s, exacerbated by the all over composition and an apparent absence of pictorial structure. It is difficult to determine whose work is more erotic, if not voluptuous. These are paintings that turn their very douceur into a sparring weapon: both use an apparent softness as a kind of varnish that quickly reveals the violence inherent in the image underneath.

As curator – with Xavier Douroux, Franck Gautherot, Bob Nickas and Anne Pontégnie – of the Biennale de Lyon4 in 2003, I decided to show Betty Tompkins’s paintings with those of Steven Parrino. This is another possibility, but, in the end, exactly the same.

Éric Troncy, October 2017

Betty Tompkins was born in 1945 in Washington, D.C. and now lives and works in New York City and Pleasant Mount, Pennsylvania. Her work was the subject of the solo exhibition Sex Works/WOMEN Words, Phrases, and Stories at Gavlak, Los Angeles (2016), WOMEN Words, Phrases, and Stories at the FLAG Art Foundation, New York (2016), and Real Ersatz at the Bruce High Quality Foundation University, New York (2015). Her work was recently included in Black Sheep Feminism: The Art of Sexual Politics, a four-artist exhibition curated by Alison Gingeras at the Dallas Contemporary, Texas (2016), and The Female Gaze, Part Two: Women Look at Men at Cheim & Read, New York (2016). Tompkins’ work is included in the permanent collection at the Centre Pompidou, Paris, France.

Jean-Baptiste Bernadet was born in Paris in 1978, he lives and works in Brussels and New York, and was artist-in-residence at Triangle Studios in Brooklyn in 2012, APT Studios in Brooklyn in 2011, and Chinati Foundation, Marfa, Texas, in 2010. His solo exhibitions include, among others, Valentin in Paris (2017, 2015), Michael Jon & Alan in Miami (2017), Almine Rech Gallery in London and Brussels (2016), Retrospective in Hudson, NY, American Contemporary in New York City, Rod Barton in London (2014), Karma in New York City (2014), Marfa Book Company in Marfa, Texas (2015, 2013), Torri in Paris, Renwick in New York City (2011), the Chinati Foundation in Marfa, Texas (2010). Since 2001, he has also participated in many group shows, including Almine Rech in Paris and Michael Jon in Miami (2015), WIELS in Brussels (2015, 2010 and 2009), Valentin in Paris, Ricou Gallery and Super Dakota Gallery in Brussels (2014), Palais des Beaux-Arts de Bruxelles (2013), Angstrom in Dallas, Texas, Klemm’s Gallery in Berlin (2012), 8 rue Saint Bon in Paris, White Flags in Saint Louis, Missouri (2011), Musée des Beaux-Arts de Tourcoing (2006).

Éric Troncy was born in 1965 in Nevers. He attended the École du Louvre and the École des hautes études en Sciences Sociales. Troncy is an art critic, curator, collaborator for Beaux-Arts magazine, Numéro, Les Inrockuptibles, author of numerous catalog texts, and co-director of the Consortium (contemporary art center of Dijon, France) since 1996. He is co-founder and director of the contemporary art magazine Documents sur l’art (1992–2000) with Nicolas Bourriaud, and of Frog Magazine (2008 - present) with Stephanie Moisdon.
1 Interview by Julia Balestin in Purple Magazine, FW 2012, Issue 18
2 Interview by Steven Cox for Hunted Project, 2014
3 The Shell (Landscapes, Portraits & Shapes), a show by Eric Troncy, Galerie Almine Rech, Paris, January 10 - February 14, 2015
4 C’est arrivé demain, 7ème Biennale d’Art Contemporain de Lyon, September 18, 2003 – January 24, 2004



6. Deborah Edmeades, Doreen Garner, FF Alumns, at ISCP, Brooklyn, Nov. 10-11

The International Studio & Curatorial Program (ISCP) Fall Open Studios
November 10–November 11, 2017

Opening Reception: Friday, November 10, 6–9pm
Open Hours: Saturday, November 11, 1–8pm

The International Studio & Curatorial Program (ISCP) Fall Open Studios is a two-day exhibition of international contemporary art presented by the 36 artists and curators from 22 countries currently in residence. Twice a year only, ISCP offers the public access to the inner sanctum of artists’ and curators’ studios to view artwork and share one-on-one conversations. In these current times, spaces for open discourse are more important than ever—we invite the public to engage in dialogue around contemporary art with arts professionals from across the globe. Concentrated in a three-story postindustrial loft building on the edge of Bushwick, ISCP has supported the creative advancement of residents for over twenty years, with a robust program of private individual workspaces and professional benefits.

Artworks from the 2017 ISCP Benefit Auction will be on view in the Project Space.

ISCP’s Offsite Project Cheon pyo Lee: Alibi of Autonomy will be taking place at El Museo de Los Sures, located at 120 South 1st Street, Brooklyn.

Open Studios participating artists and curators: Knut Åsdam (Norway), Elaine Byrne (United States/Ireland), Naomi Campbell (United States/Japan), Paolo Cirio (United States/Italy), Lourdes Correa-Carlo (United States), Alexis Dahan (United States/France), Cem Dinlenmiş (Turkey), Constant Dullaart (The Netherlands), Deborah Edmeades (Canada), Christian Falsnaes (Denmark), Carolina Falkholt (Sweden), Søren Thilo Funder (Denmark), Doreen Garner (United States), Camilo Godoy (United States/Colombia), Jude Griebel (United States/Canada), André Hemer (New Zealand/Germany), Mark Hilton (United States), Jess Johnson (Australia/New Zealand), Marte Danielsen Jølbo (Norway), Eli Kerr (Canada), Maria Lalou (Greece/The Netherlands), Antonia Low (Germany/United Kingdom), Lucy McKenna (Ireland), Elisabeth Molin (Denmark), Anna Nykyri (Finland), Mathias Pöschl (Austria), Liutauras Psibilskis (United States), Pia Rönicke (Denmark), Katharina Schilling (Germany), Lisa Seebach (Germany), Fuyuka Shindo (Japan), Anne de Vries (The Netherlands), Anu Vahtra (Estonia), Raul Valverde (United States/Spain), Entang Wiharso (United States/Indonesia), and Shuhei Yamada (Japan).

Temporary tattoos designed by residents Cem Dinlenmiş and Jess Johnson will be provided free by Tattly throughout the event, and a limited edition by Cary Leibowitz will be available for purchase.

ISCP thanks the following residency sponsors: ACC – Asian Cultural Council; Aisho Miura Arts; Alfred Kordelin Foundation; Amsterdams Fonds voor de Kunst; Australia Council for the Arts; The Beckett Foundation; BKA – Bundeskanzleramt Österreich Kunst und Kultur / Arts and Culture Division of the Federal Chancellery of Austria; Canada Council for the Arts; Conseil des arts et des lettres du Québec; Creative New Zealand; Danish Arts Foundation; Den Hielmstierne-Rosencroneske Stiftelse; Estonian Contemporary Art Development Center; The Fulbright Foundation in Greece; Hasselblad Foundation; IASPIS – The Swedish Arts Grants Committee’s International Programme for Visual Artists; The Jacques and Natasha Gelman Foundation; James Wallace Arts Trust; The J.F. Costopoulos Foundation; KdFS Kulturstiftung des Freistaates Sachsen; Knud Højgaards Fond; Mondriaan Fonds; National Endowment for the Arts; The New York Community Trust’s Edward and Sally Van Lier Fund; New York City Council District 34; New York City Department of Cultural Affairs, in partnership with the City Council; Niedersächsisches Ministerium für Wissenschaft und Kultur and Niedersächsische Sparkassenstiftung; OCA – Office for Contemporary Art Norway; Yoko Ono; The Pollock-Krasner Foundation, Inc.; Rubicon Gallery; Danna and Ed Ruscha; SAHA Association; Senate Department for Culture and Europe; Toby Devan Lewis Donor Advised Fund of the Jewish Federation of Cleveland; and Alice and Lawrence Weiner.

This program is supported, in part, by Arrogant Swine; Austrian Cultural Forum New York; Consulate General of Denmark in New York; Consulate General of Finland in New York; Consulate General of Sweden in New York; Google; Greenwich Collection, Ltd.; Lagunitas Brewing Company; Materials for the Arts; The Milton and Sally Avery Arts Foundation; National Endowment for the Arts; New York City Department of Cultural Affairs, in partnership with the City Council; New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature; Royal Norwegian Consulate General in New York; and Tattly.

ISCP thanks the members of Director’s Circle for their generous support: Anne Altchek, Janet Brief Ezersky, Karyn Issa Greenwald Ginsberg, Ellen Rachlin, Lori Reinsberg, Tracey Riese, Laurie Sprayregen, and Teri Volpert.




7. Linda Stein, FF Member, receives NYCATA-UTF Artist of the Year Award

On October 28th, Linda Stein will be receiving the 2017 Artist of the Year Award from NYCATA-UTF as well as delivering a keynote address. Stein will be introduced by Randi Weingarten for the 37th Annual City-Wide Art Education Conference. Previous recipients of this award include Christo & Jeanne Claude, Chuck Close, Marisol, Red Grooms, Yoko Ono, Barbara Kruger, Faith Ringgold, and Kehinde Wiley. Stein will be delivering her address at 10:45 am followed by a workshop by Dr. Ann Holt titled “Protecting Self and Others: Body Sculpture Making through Linda Stein’s The Fluidity of Gender.” The event will take place at Beacon High School on 522 W 44th St, New York City, New York.



8. Holly Hughes, Theodora Skipitares, FF Alumns, at Pratt Institute, Brooklyn, Nov. 2

Thursday, November 2, 2017

Pratt Institute
Katherine L. McKenna
Screening Room in Film/Video Building 550 Myrtle Avenue

Pratt Reception 5-6 PM

Performance 6-7 PM

A Conversation with Maya Rao 7-8 PM

Holly Hughes is a writer, performer, and Professor of the Department of Theater and Drama at the University of Michigan

Karin Shankar, Assistant Professor of Performance Studies at Pratt

Theodora Skipitares, Associate Professor, of Art and Design Education at Pratt

Maya Krishna Rao is a Delhi-based actor, dancer, director, writer, educator and activist, recognized for her original and innovative productions. Since the late 1970s, she has produced a body of work that has provoked her audiences to respond to social and political issues, even as it has amused and entertained them. She has performed her works throughout Asia, Europe, Africa, and North America. In 2010, Maya Rao received the Sangeet Natak Akademi Award for acting (India's highest award for artists). In 2015, she was one of the first artists to return her Presidential Award as a protest against India's rising wave of intolerance. Since that time, more than 50 Indian artists, writers and scientists have returned their medals.



9. Toni Dove, FF Alumn, in the New York Times, October 28

Text only follows below – please go to this link for the complete illustrated article:

The New York Times

With ‘The Dress That Eats Souls,’ Toni Dove Erases Boundaries
OCT. 28, 2017

The artist Toni Dove was standing in her roomy TriBeCa loft this year, facing off against a large, menacing figure.

Ms. Dove was moving her head and arms to get a response from the figure. It was a towering robot of sorts, composed of various video screens, armature suggesting a body and a long skirt.

“I can’t see you if don’t move,” the figure said in an otherworldly accent. There was an awkward pause. “Move slowly,” the figure added. “Do you feel it? You are inside me. I’ll tell my story with your body.”

It was getting weird in there. And the figure, the artwork “The Dress That Eats Souls,” was just getting started.

“The Dress That Eats Souls” will be featured as part of a survey exhibition, “Toni Dove: Embodied Machines,” Feb. 25 to May 20 at the John and Mable Ringling Museum of Art in Sarasota, Fla. The show will be the largest gathering of Ms. Dove’s work.

Ms. Dove chuckled when it was pointed out that the title of the artwork sounded a bit like a Dementor from “Harry Potter.”

“I think of her as chick ‘Pacific Rim’,” she said, referring to the monster movie. “There’s a sense of having created these deranged pets.”

But, jokes aside, Ms. Dove has a serious purpose with the piece, adding, “She’s the wreck of the ship of progress.”

Technology is the delivery system and the subject of her work, and she has been exploring the nexus of interactive machines, performance and installation art since the 1990s. That zone has recently become popular among artists, but Ms. Dove was arguably one of the first.

“I am interested in dissolving the boundary between audience and performer,” she said. The “Dress” takes that to an extreme.

Depending on the movements Ms. Dove made, a different one-minute film would appear on the screens, tailored to one of 10 different decades. Depending on the user’s movements, the robot cues up a dark, neutral or more lighthearted story. Of 30 possible stories, a viewer can experience five.

In one, set in the 1940s, a woman goes to the movies and becomes immersed in a Gregory Peck picture, losing track of what’s real.

In a story set in the 2040s, the protagonist “can download her memory into a chip embedded in her hip,” she said. “Everything is recorded, each moment. But you can’t stop it or turn it off.” She collaborated with the novelist Rene Steinke on the narratives.

“At the end, the dress captures your image, and you show up over the dress,” Ms. Dove added. “It says, ‘I’m done, I’ve consumed, now you go away.’”

Embodied Machines,” Feb. 25 to May 20 at the John and Mable Ringling Museum of Art in Sarasota, Fla. Credit Vincent Tullo for The New York Times
Ms. Dove, 71, was raised in New York, and she attended the Rhode Island School of Design. She comes from an artistic family: Her grandfather was the painter Arthur Dove (1880-1946), one of the most important American Modernists, whose work is in the collection of the Whitney Museum of American Art and other major institutions.

In the same way that he pioneered abstraction with his suggestively simple shapes on canvas, pushing art forward at a time that his technique was considered avant-garde, Ms. Dove has had a similar role with interactive automation.

“I’m kind of a geek,” she said. Her studio seems to have more screens, cords and power strips than your average P.C. Richard & Sons outlet.

Though Ms. Dove works independently as an artist — she is not represented by a gallery, relying on grants to produce her work — she enlists various expert teams to help her create her works.

Students from the Parsons School of Design helped her configure the vinyl underskirts of “Dress,” for instance. She often has a software designer on the project, Tommy Martinez, in her studio manning the control panel for the “Dress.” And the company Brooklyn Research created the robotics.

Ms. Dove usually takes three to four years to finish a major work.

“This is less a Rembrandt and more a limited-edition Porsche,” Ms. Dove said. “It requires maintenance and upkeep, and it could become obsolete.”

Her previous works show just how fast the technology landscape has changed. The Ringling show includes her 1998 work “Artificial Changelings,” an interactive piece that links 19th-century shoplifting to 21st-century computer hacking.

“It originally traveled in four large road cases that weighed a thousand pounds, with laser discs” Ms. Dove said. “Now it’s run on a small laptop. Everything gets smaller and faster.”

According to Matthew McLendon, the former Ringling curator who organized the show, Ms. Dove was an early adopter among artists.

“Toni is a major influence on the younger new-media generation,” Mr. McLendon said. “That’s why it’s time for this show.”

Ms. Dove, though, he added, was not a captive to her medium.

“Toni is at her heart a storyteller,” he said. “She doesn’t let tech define her practice. She has a concept, and then finds the tech to meet it.”

The Ringling, the state art museum of Florida, was founded by John Ringling, one of the five brothers who established the Ringling Brothers and Barnum & Bailey circus and his wife, Mabel.

The museum has two very unusual specialties — a strong old master collection, including five canvases by Peter Paul Rubens, and a circus-related collection.

Ms. Dove, who referred to herself as “a cinema director, but cinema on Mars,” said she identified with the idea of a big show for everyone. “I felt a complete affinity with the Ringling, I love the circus context and the populist side of it.”

But unlike a trapeze artist or lion tamer, Ms. Dove has some thorny issues on her mind. “I use spectacle as a seduction, hopefully to draw people in to spend time with complex ideas,” she said.

At this point, “Dress” was silent and powered down. But there was an uncanny feeling that she was watching all the while.

A version of this article appears in print on October 29, 2017, on Page F12 of the New York edition with the headline: With ‘The Dress That Eats Souls,’ Toni Dove Erases Boundaries.



10. Edward Gomez, FF Alumn, now online at hyperallergic.com

New York
Saturday, October 28, 2017

Greetings, art lovers and media colleagues:

My article about the new book by Brett Ingram about the eccentric, American self-taught artist Renaldo Kuhler has been published in the "Weekend" edition of the arts-and-culture magazine HYPERALLERGIC.

This well-illustrated new book is The Secret World of Renaldo Kuhler, published by Blast Books.

Kuhler died in North Carolina in 2013, at the age of 81. For many years he worked as an illustrator at the North Carolina Museum of Natural Sciences in Raleigh. Kuhler was a prodigious draftsman. Beginning during his teenage years, as a way of escaping from an unhappy family life, through a vast array of drawings, sculptural objects and custom-made costumes, Kuhler developed and gave visible form to the history, culture and society of Rocaterrania, an imaginary country, which he situated in upstate New York. Its ambiance and appearance were heavily influenced by Kuhler's fascination with the histories and cultures of Germanic and Eastern European lands of the 19th century.

Kuhler once observed, “The ability to fantasize is the ability to survive.”

You can find my HYPERALLERGIC article here:

I hope you'll enjoy reading this magazine article and learning about Kuhler's life and work, and Ingram's colorful, informative new book.




11. Dikko Faust, Robbin Ami Silverberg, Esther Smith, FF Alumns, at Rutgers, New Brunswick, NJ, Nov. 3

Hello Friends,

Opposition, The Twenty-third Annual New Jersey Book Arts Symposium and Exhibition is on Friday November 3rd from 8:00 am to 5:00 pm at the Archibald S. Alexander Library at Rutgers University in New Brunswick, NJ. (close to several major NJ roadways and accessible by rail from NYC and Philadelphia. There will be free parking in the nearby Rutgers parking deck). Hope you can join us!

Archibald S. Alexander Library
Rutgers, The State University of New Jersey
169 College Avenue
New Brunswick, NJ 08901

Symposium and Exhibition:
Friday November 3, 2017
8:00 am - 5:00 pm

Morning includes a hands-on workshop led by Catherine LeCleire. Artist in Residence Asha Ganpat will include everyone in an Interactive Artist Book Project. Featured artists Robbin Ami Silverberg, China Marks and Lesley Dill will present and talk about their work. Susanne Padberg of Galerie Druck & Buch in Vienna will speak about artist books from the point of view of a bookseller.

Afternoon includes presentations by featured artists Susan Happersett, Gaëlle Pelachaud, and Purgatory Pie Press (Dikko Faust and Esther K. Smith). We are delighted that Judith K. Brodsky, Professor Emeritus and Founder of the Brodsky Center will speak about the art presented and sum up the Symposium. A Book Artist Jam open to all participants will take place after the afternoon program. Everyone is invited to show /swap /sell their own books and book art.

In addition our lunchtime seminar will include readings from artists books featuring Mick Stern, Béatrice Coron and Marcia Wilson. Anna Pinto, the NJBAS Scribe will create unique name tags for all the attendees

We are especially pleased that this year there will be an exhibition of artists books in the Special Collections Gallery and in cases outside the auditorium along with with an extensive catalog by Michael Joseph.

Exhibiting Artists:
Béatrice Coron, Lesley Dill, Dikko Faust, Asha Ganpat, Karen Guancione, Susan Happersett, Anja Harms, Burgi Kühnemann, Catherine LeCleire, China Marks, MaryAnn L. Miller, Yasutomo Ota, Gaëlle Pelachaud, Anna Pinto, Robbin Ami Silverberg, Esther K. Smith, Mick Stern, Amanda Thackray, Debra Weier and Marcia Wilson

For more information please write to: mjoseph@rutgers.edu or karenguancione@gmail.com



12. Amy Brook Snider, FF Alumn, at the New York Public Library, Manhattan, Nov. 12




13. Whoop Dee Doo, FF Alumns, at San Francisco MoMA, CA, Nov. 4-5

Whoop Dee Doo
Saturday and Sunday, November 4 and 5, 2017
11 a.m.–4 p.m.
Performance All Ages presents the wild world of Whoop Dee Doo, an artist-led project that partners with local youth organizations and performing artists to create one-of-a-kind variety shows. This fall, join us for a haunted weekend of performances for the whole family.
About the Artists
Whoop Dee Doo, established in 2006 and comprising the artist duo Matt Roche and Jaimie Warren, is a 2016–17 Franklin Furnace Grant recipient (New York), and is a featured artist project on the PBS Art21 series New York Close Up. Whoop Dee Doo has created over thirty large-scale commissioned projects for organizations including the Smart Museum (Chicago), Loyal Gallery (Sweden), POP Montreal with DHC/ART Education Department, the San Francisco Art Institute, The Contemporary (Baltimore), and others. Whoop Dee Doo completed an artist fellowship with Abrons Arts Center (New York) in 2015, as well as a six-month project series as a 2016 artist-in-residence at the High Line (New York).




14. Zachary Fabri, Juana Valdes, FF Alumns, at The 8th Floor, Manhattan, Nov. 9

Please Join Us at The 8th Floor

Thursday, November 9
from 6 to 8pm for

At the Table: Elia Alba, Maren Hassinger,
Zachary Fabri, and Juana Valdes in Conversation

RSVP Here - Please note that RSVPs are almost at maximum. Please email media@sdrubin.org to be placed onto the waitlist.

Location: 17 West 17th Street (between 5th and 6th Avenues)



15. Jane Dickson, Melissa Rachleff Burtt, FF Alumns, in Art in America, now online

Please follow this link


thank you.



16. Cassils, FF Alumn, at Ronald Feldman Gallery, Manhattan, extended thru Dec. 2



"Audiences are often shocked by the sculptural, performance, image and video work of trans artist Cassils. But "shocked" is the same reaction that Cassils wants audiences to have in reaction to violence being perpetrated against the trans community. Since the president has rescinded an Obama-era executive order allowing transgender students to use the bathroom matching their chosen gender identities, Cassils has been working on a series of new works and performances. All of it is meant to call attention to violence against the LGBTQI community. " -Alex Teplitzky for Creative Capital Blog

PISSED: A 200-day durational performance where Cassils has captured all the urine their body has passed since February 26, 2017, when Trump rescinded the Obama era order allowing trans teens to use their bathroom of choice versus the gender assigned to them at birth.

This four-channel installation spacializes these arguments so that the discussions are literally being hurled back and forth over the cube. So what it does is that it contextualizes what you're looking at. Because although this is an idea about making formally what the fluid amount actually is - at worst it could be reduced to just an aesthetic: "This is beautiful!" "Wow, is this golden nectar?" But when you hear these testimonies - and there's a lot of Bible quoting, it's really crazy you understand the essentializing that goes on in this country. "God made you man you are a man! How dare you go against being a man? That's blasphemy!" And although this is about the trans issue, it does speak to the deep divide in our country right now about these fundamental ideologies and ways that we approach living. -Noah Michelson for The Huffington Post

Cassils work speaks to the queer community as a whole, and tries to make space for the most marginalized identities within the community-queer people of color, youth, trans people, queer people who are incarcerated, etc. This, they believe, is at the heart of queer rage: standing up for those issues that might not affect you directly, but are life and death concerns for others in the community. - Hugh Ryan for Out Magazine

Cassils's work, however, subtly deconstructs the myth of white maleness. It begins with an extreme close-up in the center of Cassils's flame-retardant suit, the only sound the beating of their heart. As flames begin to lick the side of the frame, the camera zooms out, revealing Cassils with outstretched arms against a painted backdrop of a crimson sunset. The image of a white body in a white suit calls to mind associations from the beatific (Jesus) to the evil (KKK). At the end of the performance, two men in silhouette emerge from the sides of the frame to extinguish Cassils. The performance rewinds at a slightly faster speed, allowing viewers to catch details that might go unnoticed, like a tiny handheld fan wafting the flames. The performance underscores a truth in Cassils's work: violence is as cyclical as it is mediatized. At the same time, it is no less real to its victims. - Wendy Vogel for Art Agenda

Inspired by the collection at ONE Archives in Los Angeles, the oldest active LGBTQ archive in the United States, Cassils quite literally boxes with ideas of strength, masculinity, and queerness in Becoming an Image (2012-present). Wearing nude underwear and bandaged gloves, the artist launches an attack on a 2,000-pound clay block in total darkness. With a flurry of punches and kicks, they transform the clay into a site of violence and anger. The monolithic block becomes putty. As Cassils hammers away, a group of photographers try to capture their performance in pitch darkness, illuminated only be the flash of their own cameras. In 2013, the artist used the mound of clay from Becoming an Image as a mold to create a concrete sculpture, The Resilience of the 20%, which they describe as "a violently elegant funerary sculpture." (In 2012, murders of trans men and women around the world increased by 20 percent.) - Zachary Small for Artsy

Cassils stood on a pedestal above the crowd at about the height of public figures in city parks. Photos of their many bodies hung on the walls, painted in bronze-gold-looking buff, grimy, and gleaming. From speakers blaring at the corners, the audience heard audio recordings of the Gavin Grimm court case cutting across the room. People moved in and out, saying hello and then looking up. Cassils stood on a white rectangular pedestal, mostly still, shaking slightly, moving their arm to rest differently than before, or shifting their straight-ahead gaze to the side just a bit. A few times, they pulled down their pants, picked up the orange bottle with one hand and the funnel with the other, and held the funnel to their crotch. Their hands, the bottle, and the funnel were all shaking. The room was shaking, and the parts were shaking. They pissed quietly and put the plastic objects down. These shifting, slow moments remind me of dance scholar Andre Lepecki's description in Exhausting Dance: Performance and the Politics of Movement of "the paradoxical still-act" He describes the act as a mapping of the "the tensions in the subject, the tensions in subjectivity under the force of history's dusty sedimentation of the body."In the paradoxical not-quite"still-act" we're held in, the sediment pushes down hard. - Tess Altman for Bomb Magazine

Beyond pissing on formalism, Cassils also refuses to allow viewers to regard PISSED through a politically neutral lens. With speakers in the corners of the space, the artist projects audio recordings documenting the progression of student Gavin Grimm's bathroom case. From the Bible verse-wielding transphobic bathroom police at the Virginia school board to the arguments at the Fourth Court of Appeals, voices ricochet through the space as a ghostly reminder of how trans and gender non-conforming bodies are policed, even down to how and where they can pee. - Emily Colluci for Filthy Dreams Blog

Gallery Hours are Tuesday-Saturday, 10-6. Monday by appointment.
For more information: contact Megan Paetzhold (212) 226-3232 or megan@feldmangallery.com.
Press Link.

Note to Journalists: Cassils uses plural pronouns as defined in GLAAD's Media Reference Guide on Transgender Issues.



17. LuLu LoLo, FF Alumn, at Oradell Library, NJ, Nov. 6

LuLu LoLo November 6, 2017 7pm, Oradell Library, Oradell, NJ
LuLu LoLo will be reading the spoken word play "Conspiracy Theory: The Mysterious Death of Dorothy Kilgallen” by Davidson Garrett with Joel Allegretti, Don Zirilli, and Davidson Garrett



18. Verónica Peña, FF Alumn, at PØST Art Gallery, Los Angeles, CA, Nov. 2

A set of three performances curated by Lara Salmon November 2, 6-10pm: Verónica Peña October 26, 8pm: laub October 19, 8pm: Oscar David Alvarez “At a time when the artist’s identity is one of the most important parts of the work, performance is doing what it always did best: including the artist definitively. We are not left to wonder with what authority the performer creates, but instead invited to discern various implications of their voice. Through performance we put actions into the world, placing ideas to linger within the minds of the audience. Performance holds a special potential for connection between creator and viewer—a connection that is fleeting in our smartphone-based society. When snapping, posting, scrolling, swiping or sending, it’s easy to not actually be part of what is in front of us.” (Lara Salmon) VERÓNICA PEÑA is an interdisciplinary artist and independent curator from Spain based in the United States. Her work explores the themes of absence, separation, and the search for harmony through Performance Art. Peña is interested in migration policies, cross-cultural dialogue, and women’s empowerment. Recent works include participatory performances that create shared moments amongst strangers. Peña has performed in various countries around Europe, Asia, and America. In the United States, her work has been featured at Times Square, Armory Show, NYU’s Hemispheric Institute, Queens Museum, School of the Art Institute of Chicago, Grace Exhibition Space, Triskelion Arts, Defibrillator Performance Art Gallery, Momenta Art Gallery, Gabarron Foundation, Dumbo Arts Festival, and Consulate General of Spain in New York, amongst others. She is a recipient of the Franklin Furnace Fund 2017-18. She has published “The Presence Of The Absent”, a thesis about her body of work. She was a visiting artist at The School of the Art Institute of Chicago. She curates “Collective Becoming,” an initiative to make cities a place less hostile. She is currently at work on her new project about freedom, fear, and resistance, “The Substance of Unity.” http://www.veronicapena.com OSCAR DAVID ALVAREZ was born in Manizales, Colombia in 1985, and raised in Los Angeles. He received a BFA at California College of Arts, and is currently in the MFA program at USC Roski. His artistic practice includes performance, sculpture, installation, & video. LAUB lives and works in Los Angeles. he is a glass blower of twelve years, a ceramicist, a musician, -utilizing voice, banjo, piano and guitar- a performer, a writer, a fermenter, a video artist, a builder, a drawer, and a seamstress. he is an aspiring instagram star, an aspiring porn star, an aspiring art star and an aspiring rock star. his dream is to perform at Staples Center. he had his first solo show at Commonwealth and Council in 2015. He made a glass cactus and put it in a gold room at Visitor Welcome Center in 2016. he performed with Jennnifer Moon at the Hammer Museum in 2016- just some of the highlights. PØST 1206 Maple Ave. #515 Los Angeles, CA 90015 http://www.post-la.com http://www.facebook.com/NotPOST



19. Ruth Hardinger, FF Alumn, at Kean University, Union, NJ, Nov. 8-Dec. 118

Subtle Formations
Kean University. 100 Morris Avenue, Union, New Jersey, 07083
November 8 - December 18, 2017
Reception on Wed, November 15th. 5:00 to 8:00 pm



20. Jayoung Yoon, FF Alumn, at Atlas Studios, Newburgh, NY, opening Nov. 4

I would like to share an upcoming group show, "Land and Time"

Land and Time
Curated by Tal Beery and Eric Heist

Opening reception November 4, 6-8PM
November 4 - December 17, 2017

Atlas studios
11 Spring Street, Newburgh, NY 12550
gallery hours: Saturday and Sunday, 12-6PM


Enjoy Halloween!

All the best,
Jayoung Yoon
interdisciplinary artist



21. Barbara Hammer, FF Alumn, at EAI, Manhattan, Nov. 1

Next Wednesday: Barbara Hammer: Artist Talk and Screening

Electronic Arts Intermix (EAI) is pleased to present an evening with Barbara Hammer, organized on the occasion of Barbara Hammer: Evidentiary Bodies, a major retrospective at the Leslie-Lohman Museum of Gay and Lesbian Art and venues throughout New York City. Hammer’s work over five decades is pioneering for its focus on lesbian desire and relationships, and also for its extraordinary formal innovations across media. This screening and artist talk at EAI will formally launch EAI's distribution of Hammer’s moving-image work, and will spotlight the artist’s use of video, early computer animations, and an Internet-based project. Tickets are available online or at the door.

Wednesday, November 1st, 2017
7:00 pm

Electronic Arts Intermix (EAI)
535 West 22nd Street, 5th Floor
New York, NY 10011

$7 / $5 students / free for members

Barbara Hammer’s tactile engagement with film as material is widely appreciated. The artist’s use of color, framing, superimpositions, and dynamic editing has produced a body of work that is uniquely affecting to experience as an audience. A strong emphasis on sensuality, eroticism, and interpersonal relations invites viewers to feel engaged and empowered by watching. Participation is an important consideration for Hammer, who often involves her audience directly in her live performances or interactive artworks.

The immediacy and interactivity of video and computer technologies only furthered Hammer’s exploration of participatory art. This program will focus on these technological engagements, ranging from early Portapak works, Internet-based art, Amiga computer-generated graphics, and video experimentations.

Following the screening, Hammer will be in dialogue with film and media curator Sally Berger, and will give a demonstration of her echonyc.com/~lesbians Internet project, which offered individuals a communal, anonymous platform for expressing and sustaining lesbian desire and identity—a vital and nurturing endeavor that is in keeping with Hammer’s tremendous influence and contribution.

Sally Berger is a film and media curator, lecturer, and writer. She is a Fellow at the Center for Media, Culture and History, New York University. She previously worked at The Museum of Modern Art, Department of Film as Assistant Curator and Director/co-founder of Documentary Fortnight, an international festival of nonfiction film and media.

Barbara Hammer (b. 1939) is an American feminist artist known as a pioneer in experimental film. She has had film retrospectives at the Jeu de Palme (Paris), Museum of Modern Art (New York), Tate Modern (London), National Gallery of Art (DC), Kunsthall (Oslo, Norway), Toronto Film Festival, and Pink Life Queer Festival (Ankara and Istanbul, Turkey). Her work was included in the 1985, 1989, and 1993 Whitney Biennials and is included in the permanent collections of the Australian Center for the Moving Image, the Museum of Modern Art (New York), the Centre Georges Pompidou, and elsewhere. She is the author of Hammer! Making Movies Out of Sex and Life (Feminist Press 2009). She holds a Masters in Literature (1963) and a Masters in Film (1975) from San Francisco State University in California. She lives and works in New York City and Kerhonkson, New York.

Limited Offer: EAI Scholar Membership Discount

Sign up for a Scholar Membership on or before the end of November 2017 and receive a 10% incentive discount. Membership helps to support EAI's programs and services, including our online resources, educational outreach and vital preservation activities. Support the future of media art and artists while enjoying a year of special access to one of the most significant research collections of media art! Learn more.

About EAI
Founded in 1971, Electronic Arts Intermix (EAI) is a nonprofit arts organization that fosters the creation, exhibition, distribution, and preservation of moving image art. A New York-based international resource for media art and artists, EAI holds a major collection of over 3,700 new and historical media artworks, from groundbreaking early video by pioneering figures of the 1960s to new digital projects by today’s emerging artists. EAI works closely with artists, museums, schools and other venues worldwide to preserve and provide access to this significant archive. EAI services also include viewing access, educational initiatives, extensive online resources, technical facilities, and public programs such as artists’ talks, screenings, and multi-media performances. EAI’s Online Catalogue is a comprehensive resource on the artists and works in the EAI collection, and features expansive materials on media art’s histories and current practices: www.eai.org

Electronic Arts Intermix
535 West 22nd Street, 5th Floor
New York, NY 10011
t (212) 337-0680
f (212) 337-0679
EAI on Facebook
EAI on Twitter
EAI on Instagram



22. Simone Gad, FF Member, at MoMA, NY, opening Oct. 31

You're Invited: Club 57: Film, Performance, and Art in the East Village, 1978–1983 Opening Reception at Museum of Modern Art, Manhattan, October 31, 7-9 pm rsvp 212-333-1181



23. Natalie Bookchin, Shaun Leonardo, Jenny Polak, FF Alumns, at Nathan Cummings Foundation, opening Nov. 13


NOVEMBER 13, 2017 – MARCH 14, 2018
Opening Reception: Monday, November 13, 6pm-8pm

Featuring: Sol Aramendi, Alexandra Bell, Natalie Bookchin, Andrea Bowers, Nancy Chunn, Adinah Dancyger & Mykki Blanco, Nona Faustine, Ramiro Gomez & David Feldman, Cannupa Hanska Luger, Shaun Leonardo, Esperanza Mayobre, Loren Madsen, Richard Mosse, Not An Alternative, Jenny Polak, Bayeté Ross Smith, Michael Sharkey, Dustina Sherbine, Unlimited, Ltd., Kamau Ware, Carey Young

No Longer Empty is pleased to announce Hold These Truths, a group exhibition that responds to our complex and critical moment in United States history through the works of artists including Sol Aramendi, Alexandra Bell, Natalie Bookchin, Andrea Bowers, Nancy Chunn, Adinah Dancyger & Mykki Blanco, Nona Faustine, Ramiro Gomez & David Feldman, Cannupa Hanska Luger, Shaun Leonardo, Esperanza Mayobre, Loren Madsen, Richard Mosse, Not An Alternative, Jenny Polak, Bayeté Ross Smith, Michael Sharkey, Dustina Sherbine, Unlimited, Ltd., Kamau Ware, and Carey Young.

Reflecting on narratives from multiple sources in a rapidly changing social and governmental landscape, Hold These Truths includes works by artists who employ strategies ranging from editing and re-framing to appropriation and-enactment. Their work collectively seeks to dismantle prevailing constructs of national identity, and observe the right to challenge the very mechanisms that exclude expression and participation.

The exhibition will be accompanied by a series of participatory programs including walking tours that unpack how meaning and truth are creative processes, Wikipedia edit-a-thons, and performance workshops that locate current events within the body. Collectively, these programs address timely issues such as Immigration, Climate Change, and Labor and Legal Documentation. Programs are organized by Raquel de Anda, Director of Public Engagement, and Mica Le John, Education Programs Manager. No Longer Empty will also publish a catalog of the exhibition.
Join us for the Opening Reception: Monday, November 13, 6 pm - 8 pm
RSVP required to attend the opening
Nathan Cummings Foundation
475 Tenth Avenue, 14th Floor

Hold These Truths on view: November 13, 2017 – March 14, 2018
Viewing hours by are appointment: Monday – Friday, 10am – 4pm
To schedule a visit: email exhibits@nathancummings.org



24. Aviva Rahmani, FF Alumn, at Bridge Red, Miami, FL, opening Nov. 19, and more

We are pleased to announce two opportunities to join us:

The Blued Trees Symphony will be represented as individual tree-notes for Sixth, an exhibition curated by Jane Hart at Bridge Red, the John and James L. Knight funded non-profit contemporary art venue in Miami, Florida. The exhibition will run from November 19th to January 7th. The opening reception on Sunday, November 19th will be from 4:00 pm - 7:00 pm and the closing brunch on Sunday, January 7th will be from 12:00 pm to 3:00 pm. Additionally, there will be an official Art Basel Miami Beach VIP reception Saturday, December 9th from 9:00 am to 12:00 pm. Bridge Red Studios/Project Space is located at: 12425 NE 13th Ave. #5, North Miami, FL 33161.

The Landscape Research Group, London, UK will host a special symposium on Landscape Justice to celebrate their 50th anniversary, December 6th at the Wellcome Collection located at: 183 Euston Road, London NW1 2BE, UK. On Friday, December 8th Aviva Rahmani will give an Artist talk on art, activism and earth rights from 6:30 pm - 8 pm, as part of the Extinct Icons & Ritual Burials exhibition at ONCA located at 14 St George's Place, Brighton, BN1 4GB, UK.



25. Charles Clough, FF Alumn, at Art Omi, Ghent, NY, Nov. 2, and more

Art Omi invited me to present an exhibition and public painting workshop that opened and occurred on September 2, 2017 in Ghent, NY.

In 2014 I began to title my paintings: Clufffalo. There are three types of Clufffaloes: Places, Seasons and Numbers. Places are painted with public participation over the course of a day, with me painting last licks, in relation to a not-for-profit institution. Seasons are painted over the course of a season by as many public participants as possible at the Roycroft in East Aurora, NY. At the end of the season I grind through the layers of the painting until I am aesthetically satisfied. In both Places and Seasons, I document the participants and their painted contributions from which I produce “art history books” so that the participants and I are included together. Clufffalo: Numbers are painted by me alone.

The Art Omi exhibition presents Arena, 1992, latex on canvas, 108 x 210 inches, painted with public participation and finished by me at Artpark, Lewiston, NY and the seven Clufffalo: Seasons completed by the opening date of the exhibition. The painting workshop on September 2, 2017, produced, Clufffalo: Art Omi, latex on canvas, 108 x 192 inches and was stretched and hung in the exhibition when it dried.

I will show videos and speak about my work at Art Omi on Saturday November 2, 2017 at 2pm. The exhibition continues through January 2, 2018. I hope that you will consider this exhibition for editorial coverage.
—Charles Clough



26. Dara Birnbaum, Brian O’Doherty, Howardena Pindell, FF Alumns, at the Met Breuer, Manhattan, Nov. 3

Please join us on Friday, November 3, at 6:00 pm on the fifth floor of the Met Breuer for an exciting event related to the exhibition Delirious: Art at the Limits of Reason, 1950-1980. The event begins with a panel discussion with four artists from the exhibition--Dara Birnbaum, Mel Bochner, Nancy Grossman, and Howardena Pindell--and concludes with the world premiere of two of Brian O'Doherty's Structural Play--Sex and Violence--from 1968.

The museum is open late that evening, so you'll be able to see the exhibition and experience the work of all of the brilliant artists represented in Delirious after the event.


Conversation on Delirious Art and Times
Artists discuss their work, the exhibition, and the relevance of delirium today with curator Kelly Baum.

Please spread the word far and wide!



Goings On is compiled weekly by Harley Spiller