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Contents for November 06, 2017

1. Martha Wilson, FF Alumn, at Artpace, San Antonio, TX, opening Nov. 9


Fall residents Heyd Fontenot, Lili Reynaud-Dewar, and Martha Wilson
reveal dynamic new work through exhibitions rooted in performance.

Media Preview: Thursday, November 9th, 10:30-11:30am
Public Opening: Thursday, November 9th, 6:00-9:00pm
Exhibition on View: November 9th-December 31st, 2017

Artpace is pleased to announce the Fall 2017 International Artist-in-Residence exhibition opening featuring artists Heyd Fontenot (Dallas, TX), Lili Reynaud-Dewar (Grenoble, France / Geneva, Switzerland), and Martha Wilson (New York, NY). The public opening will be held on Thursday, November 9 from 6 – 9 p.m. All three artists were chosen by Guest Curator Michael Smith. An artist himself, Smith lives in Brooklyn and Austin and teaches at The University of Texas at Austin. Smith rounds out a year of practicing artists selecting residents for the International Artist-in-Residence.

“Drawing on backgrounds in theater and performance, our fall resident artists are bridging gaps between different modes of creative expression,” said Artpace Executive Director Veronique Le Melle. “Guest Curator Michael Smith had a clear vision for how these artists’ work would intersect with one another, and their exhibitions reveal the collaborative spirit we’ve seen throughout their residencies.”

In addition to new work including film, video, and photography from all three artists, Fontenot will activate his exhibition with what he calls an “occupied installation” the evening of the opening. Wilson, a pioneering feminist artist, will present a series of new work including a video portrait of the artist as Melania Trump, an extension of her ongoing portraits of First Ladies. Reynaud-Dewar will unveil the trailer for a new short horror film created in Marfa, Texas about gentrification and the privatization and commodification of art, land, ideas, and freedom.

Artpace’s Fall 2017 Resident Exhibition Opening is free and open to the public, and attendees can enjoy free drinks from beverage sponsor Real Ale and food for purchase from Rita's on the River.

About the Artists
Heyd Fontenot (Dallas, TX)
At the heart of Heyd Fontenot’s artwork is a protest of dominant cultural perceptions concerning sexual responsiveness and the human machine. He recognizes that mass media exploitations and religious dogmas are designed to manipulate the public by provoking anxiety and encouraging shame. The concerted efforts of both corporations and churches effectively create a false sense of value and morality and Fontenot responds to these damaging effects with humor, empathy and “defiantly gleeful” images. Fontenot is represented by Conduit Gallery in Dallas and by Inman Gallery in Houston.

Lili Renaud Dewar (Grenoble, France/Geneva, Switzerland)
Lili Reynaud-Dewar lives and works in Grenoble, France. Her solo exhibitions and projects have been presented at Tate Modern, London (2017), New Museum, New York City (2014), Index, Stockholm (2014); Outpost, Norwich, England (2014); Frieze Projects, London (2013); Le Consortium, Dijon, France (2013); Le Magasin, Grenoble (2012); and Kunsthalle Basel (2010). She cofounded the feminist journal Pétunia with Dorothée Dupuis and Valerie Chartrain in 2011, the same year she also cofounded the experimental school Baba with a group of collaborators; in 2013, she was the recipient of the Prix Fondation d’entreprise Ricard. Since 2010 she has held a professorship at Haute école d’art et de design, Geneva.

Martha Wilson (New York, NY)
Martha Wilson is a pioneering feminist artist and art space director, who over the past four decades created innovative photographic and video works that explore her female subjectivity. She has been described by New York Times critic Holland Cotter as one of “the half-dozen most important people for art in downtown Manhattan in the 1970s.” In 1976 she founded Franklin Furnace, an artist-run space that champions the exploration, promotion and preservation of artist books, temporary installation, performance art, as well as online works. She is represented by P.P.O.W Gallery in New York. Martha Wilson received an Honorary Doctor of Fine Arts degree from the Nova Scotia College of Art and Design University in 2013. She has received fellowships for performance art from the National Endowment for the Arts and the New York Foundation for the Arts; Bessie and Obie awards for commitment to artists’ freedom of expression; a Yoko Ono Lennon Courage Award for the Arts; a Richard Massey Foundation-White Box Arts and Humanities Award; a Lifetime Achievement Award from Women’s Caucus for Art; and the Audrey Irmas Award for Curatorial Excellence from the Center for Curatorial Studies, Bard College.

For more information, please visit www.artpace.org and follow Artpace on Facebook, Twitter and Instagram.

Artpace is a non-profit contemporary art residency located in downtown San Antonio, Texas that supports the creative process and engages audiences with the most innovative art and artists from around the world.

Since 1995, Artpace has welcomed hundreds of artists through its renowned International Artist-in-Residence program. Annually, Artpace hosts three residencies, which each feature one Texas-based artist, one national artist, and one international artist, who are selected by a notable guest curator. Each eight-week residency culminates in a two-month exhibition on site. The mission of the program is to provide artists with unparalleled resources that allow them to experiment with new ideas and take provocative risks. For more information, visit us at www.artpace.org.

Scott Williams
(210) 212-4900



2. Erica Van Horn, Simon Cutts, FF Alumns, at Small Publishers Fair, London, UK, Novenber 10-11

Erica Van Horn and Simon Cutts will be showing and selling new (and some not so new) books from Coracle at the Small Publishers Fair in London 10th-11th November 11 am-7 pm. As always the fair is held at the Conway Hall, Red Lion Square, London WC1R 4RL. There will be lots of books from England, Europe and beyond, as well as readings and talks. Admission is free. You really should not miss it.

www.smallpublishersfair.co.uk contact@smallpublishersfair.co.uk




3. John Jesurun, Cathy Weis, FF Alumns, at WeisAcres, Manhattan, Nov. 19

November 19, 2017 - Cathy Weis Projects and guest curators Jon Kinzel and Vicky Shick welcome John Jesurun and David Thomson to Sundays on Broadway.

Playwright/director John Jesurun will present a section from a new short-form piece. He will also revisit his 1990 play “Everything That Rises Must Converge.”

David Thomson will present an excerpt from a larger work, he his own mythical beast, a series of performance installations reflecting on various questions of identity and perception.

All Sundays on Broadway events begin at 6:00 pm. Doors open at 5:45 pm at WeisAcres. Keep in mind, this is a small space. Please arrive on time out of courtesy to the artists.
Sundays on Broadway events are free and open to the public.



4. Nancy Andrews, FF Alumn, nominated for Gotham Award

The Strange Eyes of Dr. Myes, (creator) Nancy Andrews, Nominated for Gotham Award in category of Breakthrough Short-Form Series with The Strange Eyes of Dr. Myes! o yeah...so if you haven't watched it yet....thestrangeeyesofdrmyes.com
and if you are an IFP (Independent Filmmaker Project) member, please Vote (for us).



5. David Hammons, FF Alumn, at Phillips, London, UK, thru Nov. 25


Selling Exhibition in November 2017 to include works by Jean-Michel Basquiat, Awol Erizku, David Hammons, Kara Walker, Carrie Mae Weems, and Kehinde Wiley, among others

Phillips is pleased to announce the unique upcoming selling exhibition AMERICAN AFRICAN AMERICAN, curated by Arnold Lehman, Phillips’ Senior Advisor and Director Emeritus of the Brooklyn Museum. Examining over three decades of the increasing public presence and artistic success within the contemporary American art community, these more than two dozen African American artists bring, for the first time to London, a full spectrum of the innovation and energy that characterizes their work and articulates the reason it is so highly sought after internationally. AMERICAN AFRICAN AMERICAN, which will be on view at 30 Berkeley Square from 8 to 25 November, tells the ongoing important artistic history that picks up subsequent to the Tate Modern’s exhibition, Soul of a Nation: Art in the Age of Black Power.

Arnold Lehman, said: “We are incredibly excited to be hosting this celebration of contemporary African American art at Phillips London. The exhibition presents a rare opportunity to see era-defining works of art by increasingly renowned and groundbreaking artists who already have had a major impact on contemporary art in America. Reassessing and remixing critical predecessor exhibitions early in the century, such as Freestyle at the Studio Museum in Harlem and the Rubell Family Collection’s 30 Americans, AMERICAN AFRICAN AMERICAN looks anew at the increasingly powerful signature of these artists at work during the past three decades, and presents a vibrant array of paintings, photography, and sculpture. For the conclusions presented in Soul of a Nation: Art in the Age of Black Power at Tate Modern, the artists of AMERICAN AFRICAN AMERICAN offer a brilliant next chapter in the art made in the United States with new vocabulary and redefinition at every turn.”

Highlights from the Exhibition
One starring work of AMERICAN AFRICAN AMERICAN is an important painting by Jean-Michel Basquiat from 1981. Almost four decades before Basquiat became one of the highest-priced artists ever to sell at auction, and before his extraordinary current exhibition at Barbican Art Gallery, Basquiat showed a group of paintings in the 1981 exhibition at P.S.1 in New York, titled New York/New Wave. As critic Anthony Haden-Guest wrote in his 1988 Vanity Fair portrait, “…the pieces by Basquiat—who showed as Samo—were standouts. A style had suddenly fallen into place. The work is graphic, crudely drawn with oil sticks, often featuring bits of found writing—downtown street signs, whatever—and always using images at once witty and disturbing, like those used to propitiate powerful forces…” Alanna Heiss, the director of P.S.1, said, “The common reaction, which was mine, was that this was the new Rauschenberg. It was a really cliché ridden reaction, in terms of tingling, goose bumps, all the words we use all the time, but this time it was really true.”

Almost four decades later, this exhibition looks at the work of LA-based Awol Erizku, a young artist to watch. Installation, performance, photography, conceptual art and social media, especially Instagram, meld in his hands to create work that responds to the past and looks to tomorrow. Erizku’s Oh what a feeling, aw, fuck it, I want a Trillion, 2015, comes out of an insightful remix of the day it was made and, perhaps, Donald Judd’s ‘Stacks’ and Jay Z’s Picasso Baby lyrics.

Other highlights include works by Mequitta Ahuja, David Hammons, Rashid Johnson, Kara Walker, Carrie Mae Weems, and Kehinde Wiley, who recently has been chosen by former President Barack Obama to paint his official portrait for the Smithsonian's National Portrait Gallery.

Exhibition viewing: 8 –25 November 2017 | Monday – Saturday 10am-6pm, Sunday 12pm-6pm
Location: 30 Berkeley Square, London

Phillips is a leading global platform for buying and selling 20th and 21st century art and design. With dedicated expertise in the areas of 20th Century and Contemporary Art, Design, Photographs, Editions, Watches, and Jewelry, Phillips offers professional services and advice on all aspects of collecting. Auctions and exhibitions are held at salerooms in New York, London, Geneva, and Hong Kong, while clients are further served through representative offices based throughout Europe, the United States and Asia. Phillips also offers an online auction platform accessible anywhere in the world. In addition to providing selling and buying opportunities through auction, Phillips brokers private sales and offers assistance with appraisals, valuations, and other financial services.
Visit www.phillips.com for further information.

LONDON - Katie Carder, Press Manager, EMEA kcarder@phillips.com +44 20 7901 7938
NEW YORK - Michael Sherman, Chief Communications Officer msherman@phillips.com +1 212 940 1384

HEADQUARTERS: LONDON - 30 Berkeley Square, London W1J 6EX | NEW YORK - 450 Park Avenue, New York, NY 10022
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6. Leila Christine Nadir, FF Alumn, in McSweeney’s, now online

The complete illustrated article can be found at the link directly below. Text only follows further below.


NOVEMBER 1, 2017

I once dropped my keys in a small-town department store and didn’t realize they were missing until I heard a voice on the loudspeaker asking, “Will Emily Carr please report to the customer service desk?” My name isn’t Emily Carr, but I knew they were referring to my key ring’s grey lanyard from Emily Carr University, which I received when I gave an art talk there.

Bob Odenkirk is a legend in the comedy-writing world, winning Emmys and acclaim for his work on Saturday Night Live, Mr. Show with Bob and David, and many other seminal TV shows. This book, his...

I have no particular love for the lanyard. But thanks to my immigrant father, I inherited an obsession with salvaging garbage and refusing to buy anything I can’t find gratis. Every resource is hoarded, every opportunity cached. This economic prudence extends to my key ring, which is full of found objects I can’t throw away. In addition to the lanyard, there’s a small pink flip-flop — a souvenir from a trip to Vegas I never took — that I discovered washed up along a river in Maine. These souvenirs are held together by a purple climbing carabiner that advertises PDQ Delivery Service and warns NOT FORCLIMBING. I’ve had it so long that I forget where it came from.
Amidst these larger objects, it’s easy to miss that my key ring also includes a small, plain nut — the kind that goes with a bolt. I’ve always liked the shape of nuts. They are angular, hard, thick, unforgiving metal. Pretty yet easily overlooked. They were a source of entertainment during my childhood, when my father dragged me to hardware stores (every weekend, it seemed) to find the tools he needed for his endless home improvement projects. I was always bored out of my mind until I reached the aisle with drawers of nuts, bolts, nails, and screws. I preferred the hexagons, and since I was a kid supposedly helping my father, I had total permission to stick my fingers into the drawers and interact with the cool, angled, unbreakable metal for as long as I liked.
Nuts, it turns out, are practically free: 10¢ apiece, 25¢ tops. But that’s not cheap enough for me. I spotted mine in a gravel driveway at the home where I lived a decade ago. It reminded me of those long-ago trips to the hardware store, and the price was right, so I added it to my key ring. If my father could slow down long enough to stop working and worrying about how to get ahead, he might get a laugh out of this. He might nod approvingly at my resourcefulness, even though I’m a professor now and he has three rental properties, even though we both can afford to buy as many nuts as we want. “Shah bash,” he might say, “maybe we can find a use for that.”
- - -
Key Ring Chronicles is a crowd-sourced project that explores the stories behind objects that people keep on their key rings. It was created and is overseen by Paul Lukas, who has kept a quarter with a hole drilled through it on his own key ring since 1987. Readers are encouraged to participate by sending photos and descriptions here.




7. Barbara Kruger, FF Alumn, in the New York Times, Oct. 29

The complete illustrated article can be found at the link directly below. Text only follows further below.


The New York Times
MetroCards With Barbara Kruger Art Are Coming to New York City
OCT. 29, 2017

Limited-edition MetroCards designed by Barbara Kruger will be randomly distributed to vending machines in four subway stations. CreditJob Piston, via Performa
Barbara Kruger’s bold lettering has adorned buses, warehouses, magazine covers, albums and train stations. Her next medium? MetroCards.

Starting Wednesday, the Metropolitan Transportation Authority will release 50,000 limited-edition MetroCards with Ms. Kruger’s pointed questions emblazoned on the back. The cards will be available at four stations around the city and will arrive in conjunction with a series of site-specific works Ms. Kruger is creating for the Performa Biennial.
The two sets of cards each contain questions that Ms. Kruger has asked in artwork throughout her career. “Who is healed? Who is housed? Who is silent? Who speaks?” is similar to part of a 1991 work, “Untitled (Questions).” “Whose values?” was printed on a Newsweek cover in 1992, as a response to Dan Quayle’s emphasis on family values during his vice-presidential campaign. “These issues of power and control and physical damage and death and predation are ages old,” Ms. Kruger said in a phone interview from Los Angeles. “I wish some of these issues would become archaic.”

Ms. Kruger splits time between Los Angeles and New York, and she said she was excited by the interactive potential of this project: “I take the subway six times a day when I’m in the city,” she said. “The level of dispersal and distribution of meaning is huge.” Her artwork will adorn the LES Skatepark under the Manhattan Bridge, as well as a billboard at 17th Street and 10th Avenue and a school bus.

The cards will be randomly distributed at vending machines at Queensboro Plaza, Broadway-Lafayette Street, East Broadway and the B/C station at 116th Street. (They won’t be available at the counters.) “I tried to have a range of stations to have the most varied mix of riders,” Ms. Kruger said.

The M.T.A. has released several limited-edition MetroCard batches in recent years, including for the 2015 N.B.A. All-Star Game and for Supreme, a streetwear brand whose logo is noticeably similar to Ms. Kruger’s style. (“I never cared at all. I find it amusing,” Ms. Kruger said of the stylistic resemblance.) Those cards received an intense reaction in train stations, one that might only be compounded by a recent announcement that MetroCards will soon begin to be phased out.
Performa’s seventh biennial will consist of a series of live performances and installations around the city. More information can be found at 17.performa-arts.org.
Correction: October 30, 2017

An earlier version of this article misstated which edition of the Performa Biennial will take place in November. It is the seventh biennial, not the 17th.



8. Lucio Pozzi, FF Alumn, at Hal Bromm Gallery, Manhattan, opening Nov. 21

Lucio Pozzi
[Stanze # 4]
RELOCATIONS 1976 – 2017
Hal Bromm Gallery
90 West Broadway
New York NY 10013
November 21, 2017 – February 23, 2018
Opening November 21, 2017, 6 PM.

(testo italiano qui sotto)
It happens that over the years I have exhibited several painting or photo Relocation works at the Hal Bromm Gallery.
This time I am exhibiting a small selection of paintings on wood and plywood occasioned by the removing and repositioning of parts taken from an original rectangular support. I have played this game in several variations for decades and grouped the resulting works in families to which I return often. The Relocations interplay with the architectural site they are placed in. Some of these paintings reflect a restrained meditative mood, others

‘Stanze’ is a title that not only means rooms in the Italian language, but also the units combining in a poem or song. The Stanze exhibitions present small selections of artworks of a similar kind spanning a range of years. They testify that I don’t evolve in a sequential line but rather in cycles which bring me back again and again to ways I have already experienced in the past. Stanze shows have a flexible schedule, are sometimes almost private, and happen in galleries, institutions, art places or other. For every show, I publish for my private use a file card or brochure in the A4 format, in which all the works are reproduced small, like a page of a General Catalogue.



9. Arantxa Araujo, FF Alumn, at Tribeca Performing Arts Center, Manhattan, Nov. 6, and more

Amigxs mixs,

I cannot believe it is November already! A saborear lo que resta del año :)

I am excited to share the rest of my performances of 2017. Hoping you can join in person, and if distance makes it impossible I will make sure to live stream so that you can virtually join me.


Monday, November 6, 2017, 6pm–8pm
A Centennial Anniversary Celebration of Women’s Suffrage
Created by The Women’s Salon and JoAnne Akalaitis
BMCC Tribeca Performing Arts Center
New York

Saturday, November 11, 2017, 7pm
Raising Funds for Puerto Rico
New York

Saturday, November 18, 3pm-9pm
Bullet Space on the LES
New York

we are light, sense-SOS-cope
November 23-26
Huerto Roma Verde
Jalapa 234, Roma Sur, CDMX


December 5, 6, 7
Young Artists Initiative
During Art Basel
Downtown Miami

December 8 through 9, 2017, 6 PM
I will perform in a section of:
George Emilio Sanchez: BANG, BANG, GUN AMOK, 24 Hour Performance Filibuster
Abrons Arts Center
New York

Thanks for reading :)

Lots of love,




10. Barbara Rosenthal, FF Alumn, at Haber Space/Central Booking, Manhattan, opening Nov. 9

Barbara Rosenthal's new boxed book "75 Plant Jokes," by Barbara Rosenthal with Lehman Weichselbaum and Jeffrey Cyphers Wright will be featured in "The Garden of Earthly Delights" at HABER SPACE / CENTRAL BOOKING, an artspace curated by Maddy Rosenberg at 21 Ludlow St (F to East Broadway.) The show will run Nov 9 - Jan 21. The opening is Thurs, Nov 9, 6-8pm. Also, in the front room of CENTRAL BOOKING are another half-dozen books and prints by Rosenthal.



11. Penny Arcade, FF Alumn, at IFC Center, Manhattan, Nov. 12


Sun Nov 12, 2017, 9:15 PM |
IFC Center
Expected to Attend: Director Yony Leyser

NYC PREMIERE In the mid-1980s, Bruce LaBruce and G. B. Jones, a pair of young Canadians, introduced the world to the burgeoning Toronto queer punk scene through homemade zines and scrappy films. In this pre-Internet era, there was no way of knowing that queercore consisted of just two people. Soon enough, their subversive creation spread beyond their bedrooms to attract actual adherents, spawning a radical underground subculture that challenged both the mainstream gay and homophobic punk scenes.



12. Wanda Raimundi-Ortiz, FF Alumn, at Sidwell Friends, Washington, DC, Nov. 7

November 7, 2017, 7:30 p.m.
Please join the Sidwell Friends community for the
2017 Daryl Reich Rubenstein Guest Artist Lecture featuring
Wanda Raimundi-Ortiz,
award winning interdisciplinary visual and performance artist
Robert L. Smith Meeting Room
RSVP by November 3



13. John Ahearn, Elise Engler, Allen Ginsberg, Ann Messner, Karen Shaw, Nina Sobell, Brahna Yassky, FF Alumns, at Chesterfield Gallery, Manhattan, Nov. 16

I have the honor of curating the upcoming WBAI Radio Benefit Art Exhibition and Auction to take place at the Chesterfield Gallery on Norfolk St. Nov 16, 6:30-9PM, with online bidding Nov. 2 - Nov. 15.

Here's a link to the online catalog: https://benefitevents.com/auctions/wbai.

Online bidding is now open, and I invite you to visit and browse (and Bid!) on a wonderful range of works in all media, tastes and prices. You will find work by some of New York's best known artists, and many soon to be best knowns.

Since 1960, WBAI (99.5FM) has been New York City's beloved progressive voice, and they continue to play a vital role today as a source of truth (as opposed to "truthiness") in the difficult and ongoing fight for social justice. I am proud to support their efforts and I hope you will consider supporting them as well with your bids!.

Many thanks and warm regards,



14. R Galinsky, FF Alumn, at the Cherry Lane Theatre, Manhattan, thru Dec. 17


Friendly reminder- I finally am starting Off Broadway! "The Bench" has Sold Out the first four shows and I really don't want you to miss it. See what Chris Noth has to say and see why the reviewer from "Theatre Is Easy" says: "Galinsky transforms himself into a living ghost."

Tickets here http://www.thebenchplay.com and use the discount code: 10off to save $10 or: 20off to save $20 on each ticket. You choose!

See you soon!





15. Josh Harris, FF Alumn, in Interview Magazine, now online




16. Ann-Marie LeQuesne, FF Alumn, at The Swiss Church, London, UK, Nov. 25

In concert
Ann-Marie LeQuesne invites you to

Saturday Nov 25th – 3 pm
The Swiss Church
79 Endell St, London WC2H 9DY

For In concert we will be making a webcam movie, re-enacting "taking our (assigned) seats at a concert". As we enter the set, pre recorded sound will assist in setting the scene. A screen facing the seating will show the action live as we find our seats. Quiet conversation will be heard as the "orchestra" begins to tune up. Several people may be late arriving. Finally the "conductor" will enter to enthusiastic applause. We will join in and the lights will dim. Hope to see you!




17. Roberta Allen, FF Alumn, in Artnet Magazine, Nov. 5

Delighted to be among Editors’ Picks: 12 Things to See in New York This Week on Artnet Magazine! And one of Paper Magazine’s 10 Must-See Art Shows Opening this week.
Hope you see the show.

Saturday, November 4–Saturday, December 23
Roberta Allen, City of Dying Dreams (2017), detail. Courtesy of Minus Space.
9. “Roberta Allen: Some Facts About Fear” at Minus Space
After solo shows in New York in the 1970s and ’80s of her feminist work at venues including Franklin Furnace and PS1 Contemporary Art Center, Roberta Allen began focusing on her writing career. She continued her art practice in relative privacy, however, until she was rediscovered by Minus Space director Matthew Deleget in 2013. In her second show with the Brooklyn gallery, she will show Some Facts About Fear, a suite of 40 mixed media works on paper, and the sculptural installation City of Dying Dreams.



18. Liliana Porter, FF Alumn, at Johannes Vogt Gallery, Manhattan, opening Nov. 16

NOV. 16 – DEC. 22, 2017
Johannes Vogt Gallery is excited to feature “Accomplices,” a rare collection of collaborative works by Liliana Porter and Ana Tiscornia. In “Accomplices” we are presented with a world that borders on the line between fiction, reality, and representation. Both artists are widely recognized for their individual practices, however in what began as a happy photography accident (2004), Liliana Porter and Ana Tiscornia have through their collaborative efforts created an entirely new body of work. Porter and Tiscornia’s sharp wit creates something new through playful mischief.

Liliana Porter and Ana Tiscornia are accomplices not only in life but also in the life-long quest of art making. Their insatiable thirst for a deeper understanding of art is inspired by reciprocal critique, affirmation and day-to-day challenges. A sense of humor and wit accompanies all their interactions and creations. It seems like a natural progression to allow for a very specific synergy to happen between the two of them. Whilst accompanying each other in their individual paths as artists they have given themselves permission to enter a far more dangerous territory: becoming each other’s secret agent in completing works. In their “incognito” efforts neither one of them is wearing a mask, all accidents happen in bright daylight. Rather they become accomplices in teasing and pushing each other to unknown realms of art making. The resulting works reflect each other’s style very clearly but as in so many other cases one plus one is not just two, there is an added value, a surplus that could be described as the birth of another artist persona. “Lili-Ana” – if you will – combines the visual creations of Ana in painting, collage and sculptural assemblage with Lili’s figurines, painterly gestures, conceptual drawings and found objects.

“Accomplices” is Porter & Tiscornia’s first collaborative show with the gallery.

Liliana Porter & Ana Tiscornia Have shown their collaborative works in Relatos cómplices II (2017) at Galería del Paseo, Manantiales, Uruguay; Relatos cómplices (2016) at Galería Beatriz Gil, Caracas, Venezuela; Trabajos en colaboración (2012) at Galería del Paseo, Manantiales, Uruguay; Colaboraciones (2011) at Galería Casas Riegner, Bogotá, Colombia; Dialogue (2011) at Goya Girl Gallery, Baltimore; Diálogues and Solos (2006) at Point of Contact Gallery in Syracuse, New York; and Fictions and Other Realities (2005) at Georgia State University. Porter and Tiscornia created public artworks including Untitled with Sky (2010) a permanent installation of six faceted stained glass windows and sculptural seating at the MTA Scarborough Metro North Rail Station, NY, as well as Situations with Them at PS/IS 210 in Manhattan. Additionally, the artists worked together to produce three theatrical performances and five videos.

Liliana Porter was born in Argentina in 1941 and has been living in New York since 1964. She works across mediums with printmaking, painting, drawing, photography, video, installation, theater, and public art. Recent solo shows include those at SCAD Museum of Art, Savannah, Georgia; Artium, Basque Museum Center for Contemporary Art, in Vitoria, Spain; El Museo Nacional de Artes Visuales in Montevideo; Museo de Arte Latinoamericano de Buenos Aires; Museo Provincial de Bellas Artes Franklin Rawson in San Juan, Argentina; Museo de Arte de Zapopan in Guadalajara, Mexico; Hosfelt Gallery, San Francisco; Espacio Minimo, Madrid; Sicardi Gallery, Houston; Galeria Ruth Benzacar, Buenos Aires; Barbara Krakow Gallery in Boston, MA. In 2017 Porter’s work was included in Viva Arte Viva, 57thBiennale di Venezia; Radical Women: Latin American Art 1960-1985, Hammer Museum, Los Angeles; Etre Moderne: Le MOMA a Paris, Foundation Louis Vuitton, Paris; Human Interest: Portraits from the Whitney Collection, Whitney Museum of American Art, New York. She debuted Domar al leon y otras dudas, her third theatrical production in June at the 2nd Bienal de Performance, in Buenos Aires, Argentina.

Ana Tiscornia was born in Uruguay in 1951 and has been living in New York since 1991. She engages several media in her practice including painting, sculpture, and installation. Her works have been exhibited in solo shows at Museo Gurvich, and Museo Blanes, in Montevideo; Galeria Nora Fisch, Buenos Aires; Josee Bienvenu Gallery, New York; Alejandra Von Hartz Gallery, Miami. Ana’s work was included in Jesualdo: la palabra mágica, Museo Figari, and Márgenes, Museo de Historia del Arte MUHAR, in Montevideo; Block Parts, Barbara Krakow Gallery, Boston; Doing and Undergoing, Columbia University, New York. She represented Uruguay in the II and the IX Bienal de La Habana, Cuba, and the III Bienal de Lima, Perú. Tiscornia is Emeritus Professor, State University of New York, College at Old Westbury, and was the Art Editor of Point of Contact - The Journal of Verbal and Visual Arts, distributed by Syracuse University Press. She writes for several specialized art publications and is the author of the book, “Vicissitudes of the Visual Imaginary: Between Utopia and Fragmented Identity”, published by White Wine Press in collaboration with Distrito Cuatro.

NEW Gallery Hours: Tuesday - Saturday 11am - 6pm and by appointment
For further details please contact Kai Mote at kai@johannesvogt.nyc or 212.226.6966

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Johannes Vogt Gallery | 55 Chrystie Street, Suite 202 | New York, NY 10002



19. Frank Moore, FF Alumn, launches new website http://.eroplay.org/

Frank Moore, FF Alumn, now online at The Frank Moore Archives

In the process of the various archiving projects that we work on every day, we are always finding fun stuff that we want to do something with in a more immediate way!!
Thus is born the new blog ...


The Frank Moore Archives
Hidden treasures discovered while digging through Frank Moore's huge archives.

Linda & Mikee



20. Penny Arcade, Taylor Mac, FF Alumns, in the New York Times, Nov. 5

The New York Times
Performance Space 122 to Return to Its East Village Home
Jenny Schlenzka, Performance Space 122’s new artistic director, will lead the organization’s 13th annual Coil festival in January.
NOVEMBER 5, 2017
Performance Space 122, one of New York City’s downtown bastions of innovative visual art, dance and theater, will return to its home in the East Village in January, after six nomadic years while the organization’s building was renovated.
Inaugurating the new space will be the 13th and final edition of Performance Space 122’s Coil festival — the first during the tenure of Jenny Schlenzka, a former Museum of Modern Art and MoMA PS1 curator who became the institution’s executive artistic director this year.

In an email, Ms. Schlenzka said that Coil would be ending because “there is not the same need for a performance festival in January as there was when Coil started.” She added that, because Performance Space 122 will once again have a permanent home, “we are eager to spread our programming over the entire year.”

Among Coil’s events, from Jan. 10 through Feb. 4, are three world premieres: “Jupiter’s Lifeless Moons” (Jan. 12-17), a theater piece by the composer and writer Dane Terry; “Petra” (Jan. 23-27), by the choreographer Dean Moss and inspired by Rainer Werner Fassbinder’s 1972 film “The Bitter Tears of Petra von Kant”; and “he his own mythical beast” (Jan. 31-Feb. 4), David Thomson’s dance work that draws from a variety of sources including Alfred Hitchcock, James Baldwin and Roland Barthes.
Performance Space 122, which since it was founded in 1980 has nurtured artists like Taylor Mac, Penny Arcade and the daring theater troupe Elevator Repair Service, temporarily closed its home in 2011 for renovations. But the 1894 building, a former school at 150 First Avenue, caused a series of setbacks and delays for the project, which in the end has created column-free facilities and two interdisciplinary performance spaces.

The organization has said in a statement that Ms. Schlenzka, who as a curator brought downtown performers like Ann Liv Young and Justin Vivian Bond to MoMA PS1, has approached Performance Space 122’s programming with an eye toward the East Village’s history.

With that in mind, the “programming over the entire year” that Ms. Schlenzka referenced will begin immediately following Coil. From February through June, Performance Space 122 will present the debut of a semiannual themed series of performances.
It begins with an exhibition, marathon reading and more events inspired by the neighborhood’s punk culture of the 1970s and ’80s and in tribute to the postmodern punk writer Kathy Acker, who died in 1997. The space has also commissioned new works from the choreographers Sarah Michelson and Yve Laris Cohen, who will create a site-specific piece for the organization’s new theater.

Other performances include a revival of “Them,” which had its brazen debut at Performance Space 122 in 1986 in response to the AIDS crisis, featuring the choreographer Ishmael Houston-Jones, the guitarist Chris Cochrane and the writer Dennis Cooper. More details will be announced soon, the organization said.
Follow Joshua Barone on Twitter: @joshbarone



21. Stephen Shore, FF Alumn, in WSJ Magazine, Nov. 2

The complete illustrated article can be found at the link directly below. Text only follows further below.


WSJ Magazine
A Stephen Shore Retrospective Comes to the MoMA
An exhibition of the American photographer—known for trailblazing work in color and astute observations of daily life—celebrates his prolific, varied career

VIEW FINDER Stephen Shore’s MoMA exhibition will feature previously unpublished photographs including Greenwich, Connecticut, June 1979.

by Mark Yarm

TO SAY THAT the photographer Stephen Shore has had a long relationship with New York’s Museum of Modern Art would be a bit of an understatement. After all, Shore was a mere 14 years old when he met with Edward Steichen, then MoMA’s director of photography, and sold three of his photographs to the museum. In 1976, at the age of 29, Shore had a one-man show at MoMA, curated by Steichen’s successor, John Szarkowski, whom Shore considered a friend and a mentor. And now the museum is mounting Stephen Shore, the first U.S. survey of his six-decade career.

Washington Street, Struthers, Ohio, October 27, 1977. PHOTO: STEPHEN SHORE
“Having a retrospective at MoMA—for a contemporary artist, it’s really a dream come true,” Shore says. The show is arguably the most significant exhibition of the artist’s work since 1971, when, at only 23, he became the second living photographer (after Alfred Stieglitz) to have a solo exhibition at the Metropolitan Museum of Art in New York.
Now 70 and the director of the photography department at Bard College, Shore is perhaps best known for his series American Surfacesand Uncommon Places, photos of everyday Americana—a drifter in the Oklahoma City bus station; a pancake breakfast in Kanab, Utah—that he took on cross-country road trips in the 1970s. Those series are credited with lending legitimacy to the medium of color photography and influencing a subsequent generation of photographers, including Thomas Struth and Andreas Gursky. The MoMA retrospective, which opens November 19, will feature American Surfaces images hung and arranged just as they were back in 1972, when Shore debuted them at New York’s Light Gallery.

But Uncommon Places and American Surfaces are only a small part of Shore’s career—by design. “I could have gone on producing Uncommon Places pictures for decades afterwards. That would have been easy,” Shore says. “What was not easy was to recognize that the questions I had that led to that work were essentially answered, and that I needed to take the more challenging path of pushing myself to something else.”
Indeed, Shore is “someone who has always been reinventing himself,” says Quentin Bajac, MoMA’s chief photography curator, who organized the show. “I would say Stephen doesn’t have a style,” he adds. “It’s not that his photographs have nothing in common, but visually they’re very diverse.” As examples of the photographer’s eclecticism, Bajac points to the black-and-white portraits Shore shot at Andy Warhol’s Factory in the 1960s, Shore’s lesser-known landscape photography from the ’80s and his series of 83 print-on-demand photo books, each recording Shore’s activities over the course of a single day, from the ’00s.

The retrospective features all of these works, plus a number of rare and previously unseen pictures, including images from American Surfaces and Uncommon Places and black-and-white snapshots of Los Angeles, taken on a single day in February 1969, which Shore cites as atypical for their “jazzy, off-kilter framing.”
In recent years, Shore has reinvented himself once again, this time as an Instagrammer. The MoMA show will feature iPads for viewing his diaristic social-media work. “The earliest picture in the show is a self-portrait I did when I was 10,” Shore notes, “and the latest picture changes every day. I love the idea that this isn’t something frozen in the past, but something that’s ongoing.” That aspect of the retrospective will prevent Shore from resting on his laurels for the duration of the six-month exhibition: “I’m also aware that I’m going to have to come up with a half a year’s worth of good [Instagram] pictures.” moma.org



22. Linda Sibio, FF Alumn, at Copper Mountain Mesa Community Center, Joshua Tree, CA, thru April 14, 2018

High Desert Test Sites Presents
“The Insanity Principle Workshops”
Exploring the Intersection of Insanity and Creativity for All Artists
Taught by Linda Carmella Sibio
Nov. 11, Dec. 9, 2017/Jan. 13, Feb. 10, March 10, April 14, 2018
Every Second Saturday Through April 2018
At Copper Mountain Mesa Community Center in Joshua Tree

High Desert Test Sites presents “The Insanity Principle Workshops” taught by painter and performance artist Linda Carmella Sibio every second Saturday through April 2018 in Joshua Tree. The workshops include a variety of multilayered psychological techniques, developed by Sibio, tapping into memory, play, and personal narrative as a source for art making. Classes are two hours long and are scheduled on the second Saturday of every month, with an upcoming class on November 11th from 2:00pm to 4:00pm. “The Insanity Principle Workshops” will be held at Copper Mountain Mesa Community Center located at 65336 Winters Road in Joshua Tree, CA 92252.

A $30 minimum donation is requested (all proceeds go to the artist). For questions and to reserve a spot, please email info@highdeserttestsites.com or call the artist at 760-808-5326. The Facebook event page is here: https://www.facebook.com/events/1912697139053468/.

“These classes were initially developed when I worked with disabled individuals on Skid Row in Los Angeles,” says Sibio. “That project led me to realize that these tools, that explore personal experience through a variety of methods, are an empowering way for every genre of artist to harness inner creativity while digesting the insanity in their lives.”

“The Insanity Principle Workshops” Description -
The workshops explore the philosophy of chaotic thinking, multiple storylines, and insanity principle insights into how emotions work in the body. The class includes fragmentation, interrupters, and the psychological model as methods of making art.

Participants should wear clothing that will allow them to move freely and do unusual things. They should bring a healthy snack as the schedule includes a short break. Attendees are also encouraged to bring high-quality drawing paper, Charkole, kneaded erasers, a #2B pencil, as well as any objects they may want to work with such as musical instruments, found objects, and/or costumes.

Workshop Schedule -
All classes are held at Copper Mountain Mesa Community Center on the second Saturday of the month from 2:00pm to 4:00pm through April 2018:
- November 11, 2017
- December 9, 2017
- January 13, 2018
- February 10, 2018
- March 10, 2018
- April 14, 2018

Linda Carmella Sibio’s practice investigates the fringe of society, exploring how it affects culture. Madness has been a dominant theme in her work, having been influenced by her own diagnosis as schizophrenic and her mother’s incarceration in mental hospitals in West Virginia during Sibio’s childhood. Sibio’s philosophy reflects a combination of personal experience and intellectual pursuits. She has been influenced by Duchamp’s “The Bride Stripped Bare by Her Bachelors, Even,” Foucault’s Madness and Civilization, Artaud’s The Theatre and its Double, and Deleuze and Guattari’s Anti-Oedipus. Her work addresses strong social themes such as homelessness, mental illness, and the underbelly of society. Sibio is interested in the raw power of human emotional contact.

She has received over 20 grants and awards including a Lannan Foundation Grant and a Rockefeller MAP Fund Award. Most recent grants received are the Wynn Newhouse Award and the Tree of Life Award. Her work has been seen at Brussels Contemporary Art Fair, Walker Art Center, Franklin Furnace, VSA Arts at the United Nations Headquarters, VSA Arts at the Kennedy Center, Armory NYC, Highways Performance Space, Los Angeles Contemporary Exhibitions, Track 16, REDCAT Studio, and Scope Los Angeles at the Standard Hotel. Sibio has received media coverage in ArtNet, Art Week, CBS ‘Eye on the Desert’, Clinical Psychiatry News, Coachella Valley News, Colliding Worlds, Creator’s Project, Desert Post Weekly, Drama-Logue Magazine, High Performance, LA Reader, LA Style, LA Weekly, Los Angeles Times, MinnPost (Max About Town), New York Times, Palm Springs Life, Schizophrenia Bulletin, The High Desert Star, and The Sun Runner. She is represented by Andrew Edlin Gallery in New York.

High Desert Test Sites -
High Desert Test Sites, founded by artist Andrea Zittel, is a non-profit organization that supports intimate and immersive experiences and exchanges between artist, critical thinker, and general audiences – challenging all to expand their definition of art to take on areas of relevancy. The organization’s mission is inspired by those visionary artists who have made their work their life practice – who create intellectually rigorous and culturally relevant work regardless of the market or other outside factors. HDTS programs include guides to the high desert’s cultural test sites, immersive excursions, solo projects, workshops, publications, and residencies.

“The fragmented thinking of the schizophrenic is a window into the placement of our culture. We are living in a deconstructed world, no longer thinking linear thoughts,” says Sibio. “Our perceptions are continually interrupted by television, the internet, video surveillance, and the media – we no longer have a single thought; we think in multilayered complex patterns. For our culture to go forward, the darkness of the dismembered body needs to come into the light. We need to fragment to become whole again.”

Contact -
Linda Carmella Sibio
Copyright © 2017 SIBIO, All rights reserved.
You were added to our media/art mover & shakers list.

Our mailing address is:
56925 Yucca Trail #343
Yucca Valley, CA 92284-7913



23. LuLu LoLo, FF Alumn, at Dixon Place, Manhattan, Nov. 14
Tuesday, Nov. 14th 7:30-8:30 Dixon Place, Lounge
LuLu LoLo, Sarah Saral and Kim Yaged Hosted by Aimee Herman at Queer Art Organics, Dixon Place http://dixonplace.org/ 161 Chrystie Street, Between Rivington and Delancey In the lounge drinks (non-alcoholic also) are available
LuLu LoLo will be performing the Mary Ann Zielonko monologue from her play about the murder of Kitty Genovese: “38 Witnessed Her Death, I Witnessed Her Love: The Lonely Secret of Mary Ann Zielonko”

LuLu LoLo

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



24. Harley Spiller, FF Alumn, in Toronto Life, now online, and more

The complete illustrated article can be found at the link directly below. Text only follows further below.


Toronto Life

FOOD Here’s what happened when DaiLo chef Nick Liu cooked Chinese food from a 119-year-old menu

NOVEMBER 2, 2017

Harley Spiller has been dreaming of today’s lunch for nearly 30 years.

We’re in a fluorescent-lit room at the University of Toronto’s Scarborough campus for Chinese Food Everywhere, a two-day event exploring the cuisine’s history in North America. Attendees are poring over some 10,000 Chinese restaurant menus that Spiller, an avid collector from Buffalo, gave to UTSC in 2014. And in a kitchen down the hall, DaiLo chef Nick Liu is preparing a meal based on the minimalist wording of one such menu, from 1898.

“It was probably the second menu I bought, and the only one I ever framed,” Spiller says. “I was at the New York Antique show. They wanted $55 for it. I thought that was ridiculous. But I had $67 in my pocket, enough for dinner and the menu.”

Spiller has been collecting Chinese restaurant menus since 1981. (He also collects, among other things, magnets, ties, ruined currency, plastic cutlery, expired ID cards and Mr. T memorabilia, which he calls “Mr. T-abelia.”) Over the years, if you were a friend of Spiller, you had to bring him a Chinese menu from any of your travels. When eBay launched, he bid on every Chinese restaurant menu available.

But this one 19th-century menu—decorated with sketches of boats, lanterns and caricatures, with a list of banquet dishes written in immaculate calligraphy—remained a favourite. And as soon as Liu was finished cooking, Spiller would finally taste what was promised by the menu’s clipped descriptions.

Spiller’s menu collection at UTSC is a goldmine for academics, grad students and food enthusiasts researching the evolution of culinary history and design. It includes menus from all over the world, including a large number from Canada. Early examples feature explanations for unfamiliar audiences on how to use chopsticks, and present Cantonese-style cooking as universally Chinese.

Over time, there’s increased focus on specific regions, and a growing presence of liquor and cocktails. Stereotypical Chinese imagery—pagodas, lanterns, red, gold, dragons—persists through the ages. Some menus feature whole sections of Canadian food, with a higher prevalence of western dishes on small-town menus. Some divide between Chinese, Canadian and Chinese-Canadian. But in one form or another, the concept of “fusion food” has been with us long before its vogue in the 1990s.

Regional specialization eventually became more common.
Throughout the eras, there is a consistent campaign fought on the menus against the stigma of Chinese restaurants as dirty, low or unhealthy, and it’s fascinating to see how this was addressed. One restaurant describes many of its dishes as “aristocratic.” Another seeks to put diners at ease with an explanation of the kitchen’s hygiene protocols. “We are proud to tell you that our restaurant is now electronically equipped with the latest types of modern kitchen machinery”, reads the menu, going on to list an “electric vegetable cutter”, a sterilizing ray-lamp and even the temperature of the dishwasher. Another boasts of “oven-equipped” delivery trucks. The Bamboo Terrace informs customers, “Our kitchen is open for your inspection so you may see how Chinese cooking is done.”

Liquor also became more prevalent.

These long-winded explanations were not uncommon, either.

One of the challenges of food as a culture or art from, as opposed to music, painting or film, is that once it’s consumed, it’s gone. An eager fan can forever access Picasso’s Guernica, Patsy Cline’s “I Fall to Pieces” or The Godfather. But it’s impossible to know how the food actually tasted at George Minden’s Three Small Rooms in the 1960s, or at that unknown Chinese restaurant from 1898. There may be a few faded photographs or recipe—but you’ll never get to taste it.

Liu’s challenge in preparing lunch was figuring out how to interpret inscrutable menu descriptions like “nut fruit,” “water nut,” “white plant” and “rice bird.”

“This wasn’t supposed to be a recreation of those dishes,” says Liu. “The first draft was based on that menu, but it was so vague. The Chinese description was … well, I don’t read Chinese. And the English translation would just say ‘almond’.”

The final version of the meal, mixing Chinese and European cooking styles, with liberal amounts of butter, belongs as much to the canon of Nick Liu cuisine as any region: chili-pickled fried green tomatoes; Jerusalem artichoke dumplings poached in a bacon-chaga fish stock with white fungus and truffle; beef with a black-bean bagna cauda and Toscano cheese; and marinated bass baked with a sauce of soy, caramelized sugar, garlic, ginger, coriander and star anise, covered in hot sesame-chili oil with crispy fried shallots, ginger and chilies.

“The menu just said ‘baked spicy fish’,” says Liu. “You can’t really know how those dishes tasted. That’s why I focused on where Chinese-Canadian cuisine is going now. You can do interpretations. But I don’t think they really represent those dishes.”

This is probably not what “baked spicy fish” meant in 1898, but it’s Liu’s own interpretation.

To Spiller, the unknown and unknowable were finally put to rest. He spent his morning with the professors and grad students, showing off his menus as enthusiastically as any child would with their favourite Lego set. He’ll never know how the original dishes looked or tasted, but when he saw Liu’s food, he held his face in his hands, as if to protect his widening smile from bursting the threshold of his cheeks. For a collector like Spiller, the joy of this meal begins and ends with his toys finally coming to life.

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Goings On is compiled weekly by Harley Spiller