2021 | 2020 | 2019 | 2018 | 2017 | 2016 | 2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2007 | 2006 | 2005 | 2004 | 2003 | 2002

ABOUT GOINGS ON: How to subscribe and submit listings

Contents for January 5, 2018

1. Martha Wilson, Joan Jonas, Ana Mendieta, Adrian Piper, Carolee Schneemann, FF Alumns, now online at artsy.net

Martha Wilson, Joan Jonas, Ana Mendieta, Adrian Piper, and Carolee Schneemann, FF Alumns, are all included among the "10 Female Performance Artists You Should Know" illustrated article at this link:




2. Split Britches, FF Alumns, at La Mama Theatre, Manhattan, Jan. 4-21

Split Britches will be performing their latest show, Unexploded Ordnances (UXO) at La Mama Theatre as part of Under the Radar Festival January 4-21. Combining a Dr Strangelove-inspired performance with a daring forum for public conversation, UXO explores ageing, anxiety, hidden desires and how to look forward when the future is uncertain.

In our Situation Room, twelve audience members are invited to become a Council of Elders to discuss the global issues of the day, as the company weave in satirical insights and humour.

Adopting the characters of a bombastic general and ineffectual president, Peggy Shaw and Lois Weaver of Split Britches lace this interactive piece with both playful urgency and lethargy, encouraging discussion about the political landscape. The pioneering theatre-makers see unexploded ordnances as a metaphor for the unexplored potential in elders and hope to uncover buried resources in us all.

Tickets are available for purchase here: http://lamama.org/uxo/



3. Mat Fraser, Julie Atlas Muz, in the New York Times, Dec. 29, 2017

Julie Atlas Muz and Mat Fraser named New Yorkers of the Year:



4. Beverly Naidus, FF Alumn, at Center for Contemporary Art, Seattle, WA, Jan. 20-Feb. 24

The collective ARTifACTs will have its first gallery exhibition (after creating series of street interventions and performances in 2016-2017 protesting the expansion of the Seattle Juvenile Hall). We are a diverse group in terms of art forms, ages and races. We work together to imagine ourselves as ancestors of future generations who are looking back at use, trying to understand what we did or did not do in relation to persistent social injustices and ecocide. The show runs from January 20-Feb 24th at the Center for Contemporary Art in Seattle. http://cocaseattle.org/exhibitions/2018/1/20/artifacts-we-almost-didnt-make-it
"We Almost Didn't Make It" is an interactive installation initiated by the activist art collective ARTifACTs. This project addresses the uncertainties faced by humanity during this current moment where climate change and ongoing ecocide affects many populations around the world. It explores how we, from our different perspectives, might negotiate the barrage of daily assaults on our psyches by imagining the lives of our descendants and what we might do to improve their lives.
Visitors to the exhibition are offered an opportunity to transform rage, frustration, grief and despair into fuel for creative activism. A game-like installation will guide viewers to a table covered with "ingredients" and "recipes" for making an artifact. Participants are encouraged to imagine some aspect of our world that may or may not exist in 150 years (a species of animal, a food, a plant, a sensation) and create an artifact from found objects that symbolizes that thing. Into that artifact, the participant will place a commitment to an action that might help our descendants or future generations, not only exist, but thrive. Artifacts will then be placed in an area of the installation where our positive aspirations for the future will be clustered, a portal of possibilities. Visitors are invited to explore the different artifacts and read the various commitments to actions. One of our goals is to foster more dialog about ways to move past "dystopic" thinking so that we can continue to be resilient activists no matter how discouraging things may seem. During the month of this exhibition, two workshops will be facilitated to more deeply address these issues.
The lead artist on this project is Beverly Naidus. Other members of the collective are Carol Rashawna Williams, Ed Mast, Camella Cooper and Matthew Hamilton. We have been working together on different performance and street interventions for the past two years.



5. Angela Washko, FF Alumn, at Museum of the Moving Image, Astoria, Queens, January 10

Angela Washko Plays The Game: The Game
Wednesday, January 10th at 7pm
Museum of the Moving Image
Video Screening Amphitheater

Museum of the Moving Image will present the world premiere of Angela Washko's The Game: The Game, a dating simulator that pits players against several men modeled on real-life seduction coaches, who vie for their attention in a bar setting. Composed of scenarios, techniques, and language from texts and instructional videos created by these men, The Game: The Game flips the script on the processes of some of the world's most prominent pick-up artists and allows players to explore, expose, and defuse their techniques. The game is at turns funny and alarming, an experience heightened by a disorienting original score from Xiu Xiu.

To mark the opening of the installation, artist Angela Washko will give a free talk on Wednesday, January 10 at 7:00 p.m. to discuss her creative process, concluding with a participatory play-through of the game.
For full press release-
Contact: jeppink@movingimage.us, angela.washko@gmail.com

Museum of the Moving Image
36-01 35th Avenue
Astoria, NY 11106



6. Carolee Schneemann, FF Alumn, at Electronic Arts Intermix, Manhattan, Jan. 11

Trick Questions and Divine Interventions: Carolee Schneemann in Conversation with Melissa Ragona

Electronic Arts Intermix (EAI) is pleased to present an evening with Carolee Schneemann, in conversation with critic and independent curator Melissa Ragona. The evening will feature a screening of a selection of Carolee Schneemann's performative lectures, including Americana I Ching Apple Pie (2007) and Ask the Goddess (1991). Following the screening, Schneemann will discuss this pioneering body of work and present rare documentation of earlier performative lectures.

Thursday, January 11th, 2018
7:00 pm

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

$7 / $5 students / free for members

In 1968, at the Institute of Contemporary Arts in London, Schneemann presented her first activated essay, Naked Action Lecture, in which she used the body (both her own and audience members) to demonstrate the tension between gendered presentational positions, intellectual production and critical reception. This investigation continued throughout many other lecture-centered performances, including Schlaget Auf (1970), Cooking with Apes (1973), Interior Scroll (1975), Moon in a Tree (for Joseph Cornell) (1976), ABC We Print Anything - In the Cards (1976-79), HomeRunMuse (1977), Dirty Pictures (1985), The Delirious Arousal of Destruction or Is There a Feminist Erotic Iconography? (1991), Vulva's School (1995) and Mysteries of the Pussies (1998), just to name a few. The event at EAI will also examine Schneemann's influence on and context within a larger discussion during the sixties and seventies about conceptual and embodied approaches to the "lecture" as a work of art.

Carolee Schneemann's pioneering work ranges across disciplines, encompassing painting, performance, film and video. Her early and prescient investigations into themes of gender and sexuality, identity and subjectivity, as well as the cultural biases of art history, have had significant influence on subsequent generations of artists. Schneemann received a B.A. from Bard College and an M.F.A. from the University of Illinois, and holds Honorary Doctor of Fine Arts degrees from the California Institute of the Arts and the Maine College of Art. Her work has been exhibited throughout the world, at institutions including the Museum of Contemporary Art, Los Angeles; the Whitney Museum of American Art, New York; Centre Pompidou, Paris; Centro de Arte Reina Sofía, Madrid; The Museum of Modern Art, New York; National Film Theatre, London; Tate Liverpool, UK, and PPOW Gallery, New York. In 1997, a retrospective of Schneemann's work entitled Carolee Schneemann - Up To And Including Her Limits was held at the New Museum of Contemporary Art, New York. A retrospective of over forty of her works was exhibited in 2010 at the Samuel Dorsky Museum of Art, State University of New York at New Paltz, and traveled to The Henry Art Gallery, Seattle, and Krannert Art Museum, Champagn, Illinois. Currently, the first comprehensive retrospective of her prolific six-decade career, entitled: Carolee Schneemann: Kinetic Painting is on view at the Museum of Modern Art PS 1 (through March 11, 2018). In 2017, Schneemann was awarded the Venice Biennale Golden Lion for Lifetime Achievement.

Melissa Ragona is an Associate Professor of Critical Theory and Art History in the School of Art at Carnegie Mellon University. Her book, Readymade Sound: Andy Warhol's Recording Aesthetics, is forthcoming from University of California Press and her essays and reviews have appeared in October, Frieze, Art Papers and in the edited collections Women's Experimental Cinema (2007), Lowering the Boom: Critical Studies in Film Sound (2008), Andy Warhol Live(2008), Oxford Handbook of Sound and Image (2013), Paul Sharits (Retrospective Catalog, Fridericianum, Kassel) (2015), Carolee Schneemann: Unforgivable(London: Black Dog Publishing, 2016) and Sculpture and Film (Subject/Object: New Studies in Sculpture) (London: Ashgate Press, 2017). She has also published in monographs on the work of artists, Heike Mutter, Ulrich Genth, Christian Jankowski, Carolee Schneemann, Paul Sharits, and Antoine Catala. She has lectured on experimental film, sound, performance and installation at Yale University, Princeton University, Tate Modern in London, the Museum of Modern Art (MoMA) in New York, Freie Universität Berlin, as well as The Academy of Fine Arts (KUVA) in Finland, and other venues both nationally and internationally. Her most recent essay on Schneemann, "Materiality, Lecture, and Game in the Work of Carolee Schneemann," can be accessed on the Carnegie Museum of Art's website here.

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

This program is made possible in part by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council; the New York State Council on the Arts' 2017 Electronic Media and Film Presentation Funds Grant program, administered by the ARTS Council of the Southern Finger Lakes; and New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.



7. Spalding Gray, Eric Bogosian, FF Alumns, in The New York Times, Dec. 28, 2017

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


'Spalding Gray,' the Color? It's a Long Story
DEC. 28, 2017

This is a story about a man, a dog, a color and the name they share. Hang on. We'll get there.

The Man
Spalding Gray did not originate monologue as theater, but he perfected and popularized the form; in one-man performances like "Swimming to Cambodia" and "The Terrors of Pleasure," his onstage props were a desk, a glass of water and a mic. With those he dazzled. "He took the anarchy and illogic of life and molded it into something we could grab a hold of," said the actor and fellow monologuist Eric Bogosian. Gray received widespread recognition when the movie version of "Swimming to Cambodia" was directed by Jonathan Demme and released in 1987. This year marks 30 years of his fame. Particularly during the 1980s, Gray was the embodiment of wit and self-awareness to a certain breed of urban male. As one friend put it, "I took a lot of first dates to his shows, figuring that if she loved Spalding Gray, she would love me."

Sadly, Gray had a history of family depression - his mother killed herself at 52 - and he ruminated frequently about suicide in his work. His depression deepened following a ghastly, disfiguring car accident in 2001 in Ireland, and then there was the horror of the World Trade Center attack. "Real life has always let me down," he once said. "That's why I do the monologues. I have always said I would rather tell a life than live a life. But I have to live a life in order to tell one." He finished living that life in January 2004, at age 62, when he vanished; in March his body was pulled out of the East River. It is believed he jumped off the side of the Staten Island Ferry.

The Dog
John Williams is an architect from Cleveland, and has always been an ardent fan of Spalding Gray's performances. "I was just struck by everything: his writing, his delivery, his presence," he said in an interview.

Mr. Williams also happened to be a fan of Weimaraners, a dog breed which, let's face it, looks like it was designed by an architect - all angles and sleekness and graceful lines. When he and his then-wife Marcie Goodman, the executive director of the Cleveland International Film Festival, got their first Weimaraner in the early '90s, they took one look at that magnificent gray coat and named him Spalding Gray. "He was our fur child," Mr. Williams said. "He had the best nature and soul I've ever experienced in a dog."

The canine Spalding Gray was also a local celebrity even in the years before Instagram. Ms. Goodman always worked Spalding and eventually his brother, Jackson (Brown - do you sense a theme?) into her film festival guides. Mr. Williams listed Spalding (and eventually his other Weimaraners) as staff members on his company website. Because the dogs hung out in Mr. Williams's office all day, a number of clients would point to them and say, 'Can you paint my wall that color?" "It was a surprisingly frequent request," Mr. Williams adds.

The Color
Encouraged by the interest, Mr. Williams and Ms. Goodman decided to approach the house paint manufacturers, Sherwin Williams, which happened to be headquartered in Cleveland, with the idea of duplicating their dogs' coat hue for a paint of the same name. "That was in 2001," noted Sue Wadden, Sherwin Williams's director of color marketing, "and since that time Spalding Gray has consistently ranked among the top 20 percent of all colors sold." The internet seems fond of it too. Google "Spalding Gray" and "paint color" and you will see websites and endless Pinterest pages devoted to this particular shade of gray with subtle undertones of chocolate.

Wait. We're not done yet. Coincidences work at their own pace.

Fast forward to 2011. John Williams was at a New York City fund-raiser for the Moth, the nonprofit performance group dedicated to storytelling. That night Gray was being honored posthumously and his widow, Kathleen Russo, was there to accept the award. Mr. Williams sidled up to Ms. Russo, and shyly told her his story of superfandom, which led to his dog's moniker, which led to the paint color. Ms. Russo, now the producer of NPR's "Here's the Thing" with Alec Baldwin and director of the audio podcasts program at Stony Brook University's Southampton campus, was tickled. She is also a practical sort. Eventually she thought, well, even though the paint was technically named after a dog, the company could at least say thank you to her husband's memory - in the form of a paint job on her home.

Which is how I ended up in Sag Harbor, eating mozzarella and basil with Ms. Russo, her partner, the artist David Olson (who calls himself Dave O), and an indignant dachshund named Gertrude Stein. The house, built in 1840, is a warren of small pine-floored rooms in a blaze of different colors and odd configurations. The widow's walk was being turned into a meditation room; photographs of Gray and his children, now grown, occupied every wall and corner. (Marissa is a television producer, Forrest a composer, and Theo is a filmmaker; all, Russo notes, have found different ways to be storytellers.)

The outside of the house was being painted as we ate on the terrace. It is a place that has great meaning in Ms. Russo's life, then and now. She and Spalding had purchased it in 2001. Ordinarily a frugal man who took a long time to make any kind of financial decision, he had seen this place, fallen in love and made an offer on the spot. Then came the trip to Ireland and the dark days that followed. Though he had written and performed himself out of depression many times in the past, this time he was a changed man; in the accident Gray's head and Ms. Russo's head banged together violently, and Gray was left with a traumatic brain injury that exacerbated his depression. Gray's love for the house turned into a brooding obsession. He saw signs and portents everywhere, beginning with the fact that their official moving day was Sept. 11, 2001. (Ms. Russo had the movers come back the next day.) His own mother had moved from a house she loved shortly before she killed herself. "He would repeat daily, 'If only we were in the old house I would be whole again,'" Ms. Russo recalled. "He gave that old house a lot of power, in his mind."

Many grieving women would have given the house that power too, and sold it after a husband's tragic death. But first of all, Ms. Russo's three children loved it. And then, there is something about Ms. Russo, some combination of compassion and contrariness, that made her love those blameless walls even more. They told a story. And it was pretty clear, given whom she loved, that she was a sucker for a good story.

Spalding Gray, the dog and the human, are long gone. Spalding Gray the color is flourishing. Ms. Russo looks at the home that is spalding gray, the color of a Weimaraner, with deep satisfaction. "My Spalding would have loved this whole weird series of coincidences," she said. "He would have written a piece about it."



8. Franc Palaia, FF Alumn, in the Poughkeepsie Journal, Dec. 24, 2017

Franc Palaia, FF Alum is featured today in the Sunday Poughkeepsie Journal, Dec 24, a full page article on his "Community Portraits" project. He was awarded a Puffin Foundation grant to install two dozen 6'x8' B&W paper photographs on Poughkeepsie's city walls. The photos depict two people in profile looking at each other and shaking hands. Above their heads in bold black letters, words such as; Community, Famly, Friendship, Brotherhood, Sisterhood, Partnership, Neighborhood etc., in five languages. The photo-murals were installed during November and December. The series will be completed in the next week or so. You can see samples of Community Portraits on Franc's facebook page and www.poughkeepsiejournal.com. and the link below.



9. Penny Arcade, FF Alumn, at Pangea, Manhattan, Jan., 11, 14, and more

Penny Arcade was commissioned by Jan Fabre (and co curator Joanna De Vos) to be part of the Ostend Belguim Triannual at MuZee and 22 locations in Ostend October 2017-April 2018

On December 21st we performed Longing Lasts Longer at De Grote Poste

on view are two photographs by Penny Arcade in collaboration with Jasmine Hirst

and this video installation by Penny Arcade and Steve Zehentner

MuZee in Ostend Belgium

text/camera Penny Arcade
Video Edit Steve Zehentner


Longing Lasts Longer

Jan 11th and 14th

7pm at Pangea on Second ave between E11th &12th

Longing Lasts Longer is a refutation of nostalgia and it is a support for personal authenticity

There are over one hundred sound loops made from some of the best music of the past

50 years..I have always worked with music in this way because i believe that words upon

music go deep into our souls where words alone cannot go.
My long time collaborator Steve Zehentner (25 years) and I are in our third year of

non-stop touring with Longing Lasts Longer

We are up to 115 scripts from where we started in working

improvisationally in 2014 to create the material at Joe's Pub and The MacDowell

Colony and Longing Lasts Longer has been performed close to 200 times in 35

cities around the planet.

Steve and I are doing two performances of Longing Lasts Longer Jan 11th and 14th

7pm at Pangea on Second ave between E11th &12th a real EV sanctuary , there

since 1985! with a fabulous vibe .

We are doing these shows as part of APAP which is a perfrmance/theatre market





10. Dan Perjovschi, FF Alumn, at Jane Lombard Gallery, Manhattan, opening Jan. 9

January 9 - February 10, 2018
Opening Reception: Tuesday, January 9, 6 - 8PM

"I was born in 1961, the same year the Berlin Wall was erected. I am still standing." - Dan Perjovschi

Jane Lombard Gallery is proud to present Time of Monsters, Dan Perjovschi's seventh exhibition with the gallery. Perjovschi continues to use his well-known caricatures, wordplay and site-specific installations to portray current events while conducting a humorous and sharp critique of international media and government players. His satirical works are sketchbook interventions with images and text in news, transforming the gallery into a space of relatable frustrations with sociopolitical conditions. Maintaining an ephemeral foundation, Perjovschi does not ignore the inherent contradictions of the socioeconomic privileged arena where his work can be found. To violence, opulence and extremism, he responds with puns, laughter and ridicule as the protection of freedom.

The execution of the works is in a constant state of development due to their contingency to the mutable issues they critique. On a constant search for materials, Perjovschi takes on the performative task to urgently collect, arrange and express compound ideas through his spontaneous illustrations. Site and time specificity are crucial to his exhibitions, focusing Time of Monsters on the spectacle of Trump and the words 'fear,' 'future,' 'fake,' 'war' and 'resist.' Perjovchi's exhibition style is a unique artistic approach on the reflection of society; it is not a direct effort to shape the world, but rather an expression of feeling and engagement without becoming didactic.

Accompanying Perjovschi's work is his partner, Lia Perjovschi's Timeline. Lia produces timelines and mind maps that record and group information, categorizing and displaying vast subjects in a scale initially managed by the reader. Starting with the conventional line the text tangles and becomes increasingly disorienting to follow, revealing the ambiguity and expanding complexity of historical topics and contemporary affairs. The Perjovschi's vital relationship to the dissemination of text and news is rooted in their experience as Romanian citizens during the austerity program of the Ceaușescu dictatorship. The twenty-five year long regime was marked by a limit on free speech, a strict secret police (the 'Securitate'), extreme rationing, the ostentatious Palace of Parliament building project and a mandated blackout of information from outside the Eastern Bloc.

Accessibility, urgency, and liberty are emblematic to Perjovschi; the collages and newspaper collections embody a direct materialization of thought. Wanting to participate in the mass dialogue of the articles and images rather than aestheticizing them, the works are responses to dealings that affect and resonate with the artist as a constituent of post-communist Romania and in a global level. Perjovschi has played an active role in the reconstruction of political and cultural identity in Romania. His insightful drawings and commentary have appeared in journals such as Revista 22, to which he is its former art director. 22 takes the name from December 22, 1989, the day Nicolae Ceaușescu was overthrown. The journal is issued by the Group of Social Dialogue, a government resistant organization of writers, artistsand philosophers supporting human rights, democracy and civil liberties.

Dan Perjovschi (b. Sibiu, Romania, 1961) lives and works in Bucharest, Romania. Perjovschi has exhibited at the Museum of Modern Art, New York, NY; the Art Institute of Chicago, IL; Hamburger Kunsthalle, Hamburg, Germany; MOT Museum of Contemporary Art, Tokyo, Japan; Museum of Contemporary Art Kiasma, Helsinki, Finland; the 48th and 52nd Venice Biennale; 9th Istanbul Biennial; Hamburger Bahnhof, Berlin, Germany and Manifesta 2, Luxembourg. Perjovschi has won prizes such as the Princess Margriet Award of the European Cultural Foundation and the George Maciunas Prize. His work is in the collections of the Ludwig Museum, Budapest, Hungary; the Museum of Modern Art, New York, NY; Center Pompidou, Paris, France; Moderna Museet, Stockholm, Sweden and the Tate, London, UK.

518 W 19th Street
New York, NY



11. Judith Henry, FF Alumn, at Bravin Lee Programs, Manhattan, opening Jan. 11

Judith Henry, FF Alumn, at Bravin Lee Programs, Manhattan, opening Jan. 11
Continues thru Feb. 17, 2018 526 W. 26th Street Manhattan, tues-sat 11-6



12. Barbara Rosenthal, FF Alumn, now online at ragazine.cc

A CRACK IN THE SIDEWALK, the column by Barbara Rosenthal (FF Alum) runs online every issue of "Ragazine." This latest one (Jan-Feb 2018) is called "A Crack in the Sidewalk: Is There a Universal Esthetic? Naifs, Innocence, Education, Esthetics" http://ragazine.cc/2018/01/a-crack-in-the-sidewalk-barbara-rosenthal/



13. Harley Spiller, FF Alumn, at the Ace Hotel, Manhattan, opening Jan. 16


6PM - TUE JAN 16, 2018


Scissors are among the most ancient human tools and just about every museum counts a pair or two among their treasures. Most everyone over the age of five owns a pair of these everyday artifacts, but collector Harley J. Spiller has taken things a step further, assembling a collection of close to a thousand different scissors representing a wide range of design, innovative function, and style. Collection highlights include a five-foot tall pair of hand-carved wooden scissors, four-bladed Korean kitchen shears (with cleaning brush), dozens of miniature and anthropomorphic scissors, and bronze seed-cracking scissors, the only pair that opens from the top. This month, our Gallery Annex hosts a sampling of items from the archive as part of our month-long partnership with Outsider Art Fair.

Harley J. Spiller is a museum professional focused on collections. His work has been exhibited in museums worldwide, from the Museo de Bellas Artes in Caracas, Venezuela to the American Museum of Natural History. Collections built by Spiller are now in the permanent collections at the New York State Museum, The Smithsonian Institution's National Museum of American History, the University of Toronto Scarborough, and the Du Sable Museum of African-American History. "Keep the Change," his Princeton Architectural Press book on his collection of unusual coins and banknotes, was selected by the New York Times as a top 10 art book of 2015.

The Gallery Annex is a small space for big ideas. Conveniently located by the Lobby's bar, the cabinet has housed all sorts of eclectic and intriguing matter ranging from contemporary ceramics to radical political ephemera, from rock collections to fiber arts.

A modest reception for the display will be held on Tuesday Jan 16 at 6pm. RSVP encouraged but not required.




Goings On is compiled weekly by Harley Spiller