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Contents for March 13, 2018

1. Donna Stroud, FF Alumn, at Holistic Fair at Unity, Spokane, WA, April 21

Wow, I am so excited and grateful: I just spoke to LuAnn Stallcop and I will be a Reader at the Sat., April 21 Holistic Fair at Unity (29&Bernard, Spokane): Graphology, astrology & numerology readings... 10a-4p, $20 entrance fee. Readings and bodywork all free/covered by entrance fee. All ages.

Hosted by Metaphysical Research Society of Spokane.

Thank you for everything and all your love kindness and support.

This is going to be fun educational inspiring!!!

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2. Liliana Porter, FF Alumn, at Art Omi, Ghent, NY, opening March 17

Thru May 13

Opening 1-3 pm March 17th

Artists talk April 7, 2 pm\

14505 Country Route 22 Ghent NY artomi.org

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3. Jay Critchley, FF Alumn, now online at tierrafirmeprojects.com

http://tierrafirmeprojects.com/jay-critchley-covers-and-cover-ups

I recently met Alicia Inez Guzmán, editor of Tierra Firme, at the Santa Fe Art Institute's Equal Justice Residency.

Jay Critchley
www.jaycritchley.com

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4. Laurie Anderson, FF Alumn, in Times Square, Manhattan, thru August

Word on the Street [Spring Edition]
March - August 2018
Laurie Anderson, House of Trees, Naomi Shihab Nye, Tania Bruguera, A.M. Homes
The Watermill Center
House of Trees arts collective is dedicated to the transformative effects of contemporary art through the creation and production of dynamic, site-specific, public art projects. Each project incorporates a variety of artistic practices, including installation, textile art, sculpture, video, and performance art, among others. House of Trees seeks to create work that is part of our personal and political conversations nationwide and internationally, bringing together artists and institutions to collectively explore and expose deeper ways of connecting through artmaking.
"We originally created the project Word on the Street as a series of protest banners used in the Women's March 2017, responding to the tumultuous political climate. We use the form of the protest banner as a platform for poetic language and imagery that exists both as an institutional art and a resistance object in the streets. We are working to collapse space between the institution and the street, breaking down the invisible societal wall between politics and art. This project in Times Square was a chance to challenge commercial culture with its own weapons, through co-opting public advertising space to install the imagery and language of resistance. We are waking up to the truth that all expression, choice, action or lack of action is an act of politics."
- House of Trees
For Word on the Street [Spring Edition], renowned female artists and writers collaborate to put artistry into action, addressing urgent political concerns using poetic banners and signage. Each original artwork is fabricated in felt in collaboration with female refugees based in Texas, then photographed and printed for outdoor installation on street-pole banners and "Bigbelly" solar-powered receptacles in Times Square. The signs constitute a series of poetic, political works that speak directly to the moment. Because the banners across all iterations of the project are made at different times, they take on an archival quality, responding to and capturing their own particular political junctures.
"Thoughts, fleeting and fragmentary - slogans, catch-phrases and images give us pause, prompt us to think (differently), re-frame the moment. These banners raise questions, entertain, provoke, they ask those passing by to engage, to respond, to stay active."
- A.M. Homes
The project's deployment throughout Times Square seeks to create a network of visually disseminated texts that help articulate, support, and empower positive responses to the ever-changing social and political landscape.
"It's important to sum things up sometimes.
And it's hard to do that succinctly - to create
something challenging using very few words.
And it's easy to fall into the style of ads and
slogans that only ask you to agree with them.
The banner project is an ambitious program that will hopefully
inspire the people who just happen to pass by and look up."
- Laurie Anderson
Word on the Street [Spring Edition] is part of a yearlong collaboration between Times Square Arts and House of Trees, and a larger Word on the Street project with recent iterations at Socrates Sculpture Park and The Watermill Center. From August 2017 to February 2018, the Word on the Street {Fall Edition] exhibited works in Times Square by Anne Carson + Amy Khoshbin, Carrie Mae Weems, and Wangechi Mutu. Other events in the series include opportunities for public participation - Workshop on the Street and Workshop on the Street: May Day - and an artist talk - Artists Take the Street! - featuring Tania Bruguera, A.M. Homes and Amy Khoshbin.
In association with Times Square Arts and House of Trees, Word on the Street at The Watermill Center will be the first viewing of all original refugee-fabricated banners by Word on the Stre et collaborators. The exhibition will open during the Hampton Arts Network's inaugural THAW Fest March 23rd - 25th and remain on view through April 17th, 2018; and will feature performances by Inga Maren Otto Fellows Anne Carson and Tania Bruguera, as well as a banner-making workshop led by House of Trees.
"Given the times in which we live it is important that institutions stand up and support one another, ultimately to collaborate with individuals who are not afraid to speak truth to power, not afraid to fight for themselves or others that has been mistreated, oppressed, marginalized, or forgotten. The artists, refugees and producers collaborating on Word on the Street are the voices we should be listening to as a way forward, especially at this moment."
- Noah Khoshbin, Curator, The Watermill Center
Laurie Anderson (b. 1947, lives and works in New York, NY) is one of America's most renowned - and daring - creative pioneers. She is best known for her multimedia presentations and innovative use of technology. As writer, director, visual artist and vocalist she has created groundbreaking works that span the worlds of art, theater, and experimental music.
Tania Bruguera (b. 1968. lives and works in Havana, Cuba and New York, NY) is an installation and performance artist. Bruguera has participated in numerous international exhibitions. Her work is also in the permanent collections of many institutions, including the Museum of Modern Art, the Bronx Museum of the Arts a and the Museo Nacional de Bellas Artes de La Habana.
A.M. Homes (b. 1961, lives and works in New York City) is the author of 12 books, among them the novels This Book Will Save Your Life, Music For Torching, and The End of Alice, as well as the short story collections Things You Should Know and The Safety of Objects and the best-selling memoir The Mistress's Daughter. DAYS OF AWE a new book of stories is forthcoming in June 2018. Her work appears frequently in Art Forum, Harpers, Granta, McSweeney's, The New Yorker, The New York Times, and Zoetrope. She is a Contributing Editor to Vanity Fair, Bomb, and Blind Spot. Homes often collaborates on book projects with artists-among them Eric Fischl, Rachel Whiteread, Cecily Brown, Bill Owens, Julie Speed, Michal Chelbin, Petah Coyne, Carroll Dunham, Catherine Opie and Todd Hido. She has also created original television pilots for HBO, FX and CBS, was a writer/producer of the Showtime series The L Word, and most recently was Co-Executive Producer and Writer of the USA series Falling Water and the Stephen King/David Kelly TV Series, Mr. Mercedes. A.M. Homes has been the recipient of numerous awards including Fellowships from the John Simon Guggenheim Foundation, the National Endowment for the Arts, NYFA, and The Cullman Center for Scholars and Writers at The New York Public Library, Poets and Writers For Writers, Guild Hall Lifetime Achievement. In addition she is Co-Chair of the Board of Directors of Yaddo, and serves on the boards of Poets And Writers and previously on The Boards of New York Foundation for The Arts, Pen American Center, and The Fine Arts Work Center In Provincetown. A.M. Homes teaches writing at in the Lewis Center For The Arts at Princeton University and lives in New York City.
Naomi Shihab Nye (b. 1952, lives and works in San Antonio, Texas) was born in St. Louis, Missouri. Her father was a Palestinian refugee and her mother an American of German and Swiss descent, and Nye spent her adolescence in both Jerusalem and San Antonio. Nye is the author of numerous books of poems, including Transfer; You and Yours, which received the Isabella Gardner Poetry Award; 19 Varieties of Gazelle: Poems of the Middle East; and Fuel. Her honors include awards from the International Poetry Forum and the Texas Institute of Letters, and four Pushcart Prizes. She has been a Lannan Fellow, a Guggenheim Fellow, and a Witter Bynner Fellow, and received The Academy of American Poets' Lavan Award, selected by W. S. Merwin. She has been featured on two PBS poetry specials including The Language of Life with Bill Moyers and also appeared on NOW with Bill Moyers. She has been poetry editor at The Texas Observer for 20 years. She is also laureate of the 2013 NSK Neustadt Award for Children's Literature; and in 2017 the American Library Association presented her with the 2018 May Hill Arbuthnot Honor Lecture Award.
House of Trees (founded 2014). Each HOT project enlists a variety of talent from collaborating artists and institutional partners to create and produce dynamic, site-specific, public art projects. House of Trees Projects include: Luminaria Arts Festival, San Antonio, TX; Word Around Town, San Antonio, TX; Basco Vazko Mural at Hotel Tropicano, San Antonio, TX; Word On the Street in collaboration with Times Square Arts, NYC; and I PLEDGE at NYU Kimmel Gallery. Members of HOT arts collective have exhibited in galleries and museums throughout the United States, including Leila Heller Gallery and Socrates Sculpture Park; and published widely including Newsweek, Readymade, House Beautiful, Glamour, HGTV, Spaces and six different art books. HOT members have shown at festivals including River to River and South by Southwest; received residencies including The Watermill Center, Lower Manhattan Cultural Council, Anderson Ranch, and Banff Centre for the Arts; and have collaborated with Karen Finley, Tina Barney and John Phillip Santos, among others.
The Watermill Center (founded 1992) by avant-garde visionary and theater director Robert Wilson, is an interdisciplinary laboratory for the arts and humanities located on Long Island's East End. With an emphasis on creativity and collaboration, Watermill integrates performing arts practice with resources from the humanities, research from the sciences and inspiration from the visual arts. The Center is unique within the global landscape of experimental artistic practice and regularly convenes the brightest minds from across disciplines to do, in Wilson's words, "what no one else is doing."
Photographs courtesy of Maria Baranova.

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5. Francesc Torres, FF Alumn, at Contemporary Art Museum of Barcelona, Spain, thru Sept. 11

La Campana Hermética. Espai per a una antropologia intransferible
MACBA (Contemporary Art Museum of Barcelona), Barcelona, Spain
March 10-September 11, 2018

https://www.macba.cat/ca/expo-francesc-torres-la-campana-hermetica-espai-per-a-una-antropologia-intransferible/1/exposicions/expo

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6. Nancy Holt, FF Alumn, in the New York Times, March 7

Please visit the complete illustrated article linked here (text only follows below):

https://www.nytimes.com/2018/03/07/arts/design/dia-sun-tunnels-nancy-holt-land-art.html

The New York Times
ART & DESIGN
Dia Acquires 'Sun Tunnels,' Its First Piece of Land Art by a Woman
By HILARIE M. SHEETS
MARCH 7, 2018

The newly formed Holt-Smithson Foundation has made its first move to secure the legacy of the pioneering land artist Nancy Holt (1938-2014), better known for safeguarding the work of her husband, Robert Smithson, after he died in 1973 than for promoting her own.

Holt's monumental "Sun Tunnels" (1973-76), sited in the Great Basin Desert in Utah, has just been acquired by the Dia Art Foundation - its first such work by a woman. The combination gift and purchase from the Holt-Smithson Foundation also includes Holt's room-size installation "Holes of Light" (1973), to be exhibited in September at Dia:Chelsea.

"We're hoping the urban exhibition will encourage people to think about going out to the Great Basin Desert," said Lisa Le Feuvre, executive director of the foundation responsible for the estates of Holt and Smithson.

Jessica Morgan, director of the Dia foundation, described the work's appeal as both ancient and modern. "'Sun Tunnels' is a work that reaches back to a Renaissance fascination with astronomy but has a very contemporary physicality," she said.

Four concrete hollow cylinders - each 18 feet long and 9 feet in diameter and perforated with a constellation of small apertures emitting patterns of light inside the tube - are arranged in the landscape in an open cross. The view through the tunnels frames the vast desert and is perfectly aligned with the setting sun during the summer and winter solstices.

"It tracks the environment for you as the sun moves across the landscape, even if you aren't there at a solstice," Ms. Morgan said.

The choice to partner with Dia seemed obvious, said Ms. Le Feuvre. In 1999, Holt had facilitated the donation of Smithson's 1970 work "Spiral Jetty" - a 1,500-foot coil of black basalt and dirt rising out of Utah's Great Salt Lake - to the collection of Dia. That foundation serves as the steward of seven other site-specific artworks around the world, beginning more than 40 years ago with Walter De Maria's 1977 "Lightning Field" in New Mexico.

"How much a work of land art is worth is a very difficult thing to assess," said Ms. Morgan. "Ownership is really the care-taking of the project and the protection of the artist's wish."

For "Sun Tunnels," that means engaging a conservator to make regular visits, preserving unobstructed sight lines around the piece, making sure the roads leading to it are accessible and providing clear instructions on Dia's website for how to find it.

Both Holt and Smithson were averse to any signage in the landscape directing visitors, said Ms. Morgan: "The process of finding the work, that journey, is part of the piece."

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7. Ellen Fisher, Bradley Eros, John Kelly, Ela Troyano, Jack Waters, David Wojnarowicz, FF Alumns, at MoMA, Manhattan, March 24

Ellen Fisher presents: BLACK GODDESS Film with Performance !
March 24 @ 7:00 pm See link below for details .

https://www.moma.org/calendar/events/4256?locale=en

-- Hope to see you there !
Ellen

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8. Hannah B. Higgins, FF Alumn, at The Ace Hotel, Chicago, IL, March 16

Green Lantern Press is excited to announce the publication of SHADOWED! a new book about the work of Ellen Rothenberg! We're celebrating at The ACE Hotel Chicago March 16, 7-9pm with readings by Hannah B Higgins and Shawn Michelle Smith + performances by Spectralina and Mitsu Salmon ~

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9. Lynne Tillman, FF Alumn, in WSJ Magazine, now online

Please visit the complete illustrated article linked here (text only follows below):

https://www.wsj.com/articles/ashley-graham-moby-and-more-on-control-1519657221?mod=e2twmag

WSJ. asks six luminaries to weigh in on a single topic. This month: Control
Feb. 26, 2018

Lynne Tillman
"To some extent I don't want to be in control at times. I don't want to feel that I can't let myself go. I used to do coke in the '80s-back when everybody was doing coke-and whenever I did I would try to give my possessions away. If we were snorting lines I'd say, 'Do you want my coat? How about this teapot?' That was kind of out of control. And there are people who fear this loss of control. They want to control things they can't, so they often end up focusing on the little things-it's a hedge against reality. But I do apply self-control in fiction. It has to do with leaving out the self. One of the reasons I love writing fiction is to inhabit an intellig-ence that's not mine and to get the pleasure from those differences. I really feel that if I, Lynne Tillman, enter the story too much, it doesn't leave space for the reader to experience something more interesting."
-Tillman is a writer. Her new novel, "Men and Apparitions," is out this month.

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10. Adam Pendleton, FF Alumn, in WSJ Magazine, now online

Please visit the complete illustrated article linked here (text only follows below):

https://www.wsj.com/articles/adam-pendleton-the-making-of-an-art-world-star-1429217419

ARTS
Adam Pendleton: The Making of an Art-World Star

Virginia-born Adam Pendleton's race-infused take on the 20th-century avant-garde, 'Black Dada,' is conquering the art world one major venue at a time. London's Pace Gallery is next.
By Ellen Gamerman
April 16, 2015

Adam Pendleton is a textbook case in how to take off-big time-in the art world. Global gallery? Celebrity and hedge-fund collectors? Affiliations with major museums? Check, check, check.

There is a wait list for Mr. Pendleton's work at Manhattan's Pace Gallery, where the 31-year-old New Yorker is one of the gallery's youngest artists. Collectors of his pieces, which the gallery prices from $25,000 to $150,000, include Leonardo DiCaprio, Venus Williams and Steven A. Cohen, according to a person who works closely with the artist. Trustees of the Whitney Museum of American Art, the New Museum and the Guggenheim in New York all are collectors of Mr. Pendleton's work, according to his gallery, and his works are in the permanent collections of institutions such as New York's Museum of Modern Art and the Museum of Contemporary Art Chicago.

He is booked with exhibitions through 2018. A silk screen by Mr. Pendleton, "Black Dada (A/D)," marked a record for the artist at auction when it sold at Sotheby's in London earlier this year for $104,700, more than four times its high estimate. This week, a collection of new work went on display at Pace's London location, and he will make a major contribution to the Belgian pavilion at next month's Venice Biennale.

Mr. Pendleton's conceptual artworks include silk screens on canvas, with elements such as blown-up photographs, repurposed text and block letters. Most pieces start with grainy, black-and-white photocopies. "This," he said, slapping a hand on his laser copier during a recent visit, "is the queen of the studio."

Much of his art is underpinned by an idea he calls Black Dada, which fuses race with the early 20th century avant-garde, including Dadaism. His book dedicated to that concept, "Black Dada Reader," will be published this spring.

Adam Pendleton's conceptual artworks, often involving themes of race and the avant-garde, include silkscreens on canvas, with elements such as blown-up photographs, repurposed text and block letters.

"He took the project of his life-of being an artist-very, very seriously from a very young age," said Pace CEO Marc Glimcher. Referring to the artist's work on his book, which includes historical and contemporary writing and original essays, he continued: "If you spend 10 years working on the 'Black Dada Reader' even more intensely than your own paintings, which are really intense, you get someone like Adam Pendleton."

Mr. Pendleton also has snagged a residency at MoMA. For the residency-offered only twice before, to artists who had existing relationships with the museum-he is creating a work based on the institution's archive of Avalanche, an artist-centric magazine from the 1970s. As another part of the residency, he will travel to sites of racially charged violence such as Ferguson, Mo., where unarmed black teenager Michael Brown was fatally shot by a white police officer last year.

"What these projects share is a question about authorship and a question about who gets to write history," said MoMA associate director Kathy Halbreich. Of Mr. Pendleton's plans to visit cities marked by recent conflict, she said: "How do you go to Ferguson as an artist? And how do you not go as a voyeur? I think this is all part of the art."

Mr. Pendleton grew up painting in the basement of his family's house in Richmond, Va., studying art by Jasper Johns, Robert Rauschenberg and whomever else he could find on the shelves at the local bookstore. His father ran a construction company and played guitar. His mother, a teacher, loved books. By age 14, he was reading works from her collection with titles as sophisticated as "Compulsory Heterosexuality and Lesbian Existence."

While attending the private Collegiate School in Richmond, he traveled alone and with his father to galleries and museums in New York. "It was an encounter with something extraordinary," he said of those first forays into the art world.

In 2000, he studied in an international art program in northern Italy. While other students carved elegant Madonnas from their marble blocks, he hacked clumsily at his slab. "The teacher was like, 'What is this?' " he recalled. His response, "A building," didn't convince his instructor of his technical skills.

Undaunted, he kept painting when he returned home, sending slides of his works to New York galleries and following up with phone calls. One dealer, who was also an assistant to artist Sol LeWitt, put Mr. Pendleton in a group show. Mr. LeWitt saw one of Mr. Pendleton's works on a visit to the gallery. He was impressed, and traded one of his gouaches for a painting by the 18-year-old unknown. Today, some of Mr. Pendleton's best-known works reference imagery from a conceptual project by Mr. LeWitt known as incomplete open cubes.

Mr. Pendleton sounds matter-of-fact about the chance encounter with a famous artist whose early praise helped propel his career. "That is what a life in art is," he said, "a series of perpetually unexplained events."

Write to Ellen Gamerman at ellen.gamerman@wsj.com

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11. Kimsooja, FF Alumn, at Galleria Raffaella Cortese, Milan, Italy, opening March 13

To Breathe - The Flags
March 14 - May 5, 2018
Galleria Raffaella Cortese, Milan
Stradella 1-4
20129, Milano, Italy
Opening Tonight, March 13, 7-9pm

Galleria Raffaella Cortese is thrilled to present Kimsooja's fourth exhibition at the gallery since her first collaboration in 2005. Entitled To Breathe - The Flags, it will run concurrently to the site specific project To Breathe curated by Giovanni Iovane for the for Cappella Portinari of Basilica di Sant'Eustorgio in Milan (March 10th - June 15th) and to her first Australian solo exhibition Zone of Nowhere curated by Eugenio Viola at Perth Institute of Contemporary Arts, Australia (February 17th - April 25th).

Kimsooja presents two works that are strongly connected to each other: a video and an installation. The space at via Stradella 4 features the video To Breathe - The Flags, a transnational state of identity that merges two hundred forty-six national flags as indistinguishable cross-pollinating visual symbols, their purported intent-as symbols of state sovereignty and nationhood-emptied and reconfigured by layering and cross-fading. Since the images are semi-transparent, the colors and designs of multiple flags are intermixed. What results is a visual and symbolic breakdown of hierarchies, and transcendence of boundaries blurring the distinctions between different countries. The work also includes flags from nations that are not internationally recognized, such as Scotland or Tibet, as well as nations whose flags are forbidden in other countries, such as North Korea. In merging the flags without restriction, To Breathe - The Flags provides a representation of the new nations or non-nations within its compressed layers, brie y dissolving their discrepancies and blurring their national identities. In the first iteration of this work, which was commissioned by the IOC Olympic Museum for the London 2012 Summer Olympics, the artist layered flags of all the participating countries in a reflection of the unifying spirit of the games.

To Breathe - Zone of Nowhere is showed at the space at via Stradella 1 and translates video stills from To Breathe - The Flags into unitary images: visitors can walk through the installation of twelve moving flags as if they were also interweaving between and beyond the national boundaries. The visitor, moving across the gallery, constantly shifts their own point of view: once again Kimsooja's work shows a commitment to engage with the audience and inspire solidarity and respect for others by appealing to the sense of humanity we all possess.

The show is a wish for coexistence, bringing us closer to an ideal world in which individuals can unite in celebration of our distinctions and our common humanity. The work's effect transforms the ubiquitous national symbol of the flag into a more tentative object, one that is provisional and fluid, without hierarchy or political bias, putting all nations on the same level: a visual experience in which differences and conflicts between nations can fuse and blend together as one. As Kimsooja said "I see myself as a completely independent person, independent from any belief, country, or religious background. I want to stand as a free individual who is open to the world." It is in light of this philosophy that these ags, conceived in a kind of visual medias res, illustrate a state of perpetual becoming, frustrating the eye while accumulating in the mind. And this uid state is what gives the work its power, suggesting a point of reference that is both nowhere and everywhere at the same time.

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12. Anne-Marie Lequesne, FF Alumn, at Studio 1.1, London, UK, April 5-29

Fanfare for Crossing the Road
Studio 1.1
57A Redchurch St, London E2 7DG
April 5-29 (Thurs - Sun)
PV - Thurs April 5 - 6-9

Fanfare for Crossing the Road is an ongoing international project that adds ceremony to a common event. In each country I ask musicians - dressed in uniforms and positioned beside the traffic lights - to mimic the digital acoustic crossing sounds (different in every country) that signal the time to cross for the blind. The project began in the spring of 2011 at the crossing in front of the Albert Hall. Since then it has been performed in Helsinki, Lisbon, Cardiff, New York and Philadelphia. A Dublin Fanfare will be filmed in the autumn.

Musicians and their instruments:
London - 2 cornet players; Helsinki - 3 trumpet players and 2 percussionists; Lisbon - 4 trumpet players; Cardiff - 8 opera singers; New York - 2 speakers and 2 percussionists; Philadelphia - 3 speakers and 3 piccolo players; Dublin (upcoming) - 2 violinists and 2 percussionists.

The work has been shown at Photographic Gallery Hippolyte, Helsinki - 2012; the 4th Wall Film Festival, Pedwaredd Wal, Cardiff - 2012; Plataforma Revólver, Lisbon - 2013; AC Institute, New York - 2014; Icebox Project Space, Philadelphia - 2015. It will be shown projected onto the street after the Dublin performance.

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13. Donna Henes, FF Alumn, at Mama Donna's Tea Garden & Healing Haven, Brooklyn, March 31

FULL BLUE SAP MOON SPIRIT CIRCLE

Join Mama Donna in
An alchemical ceremony
in which we trance-mute our blues:
our fear, anger, sadness and frustration

into
the pure gold
of the rising sap!

MARCH 31
Saturday, 7:30 PM

Please bedeck yourself in blue and/or gold.

Bring a drum if you have one. If not, I do.

Bring a symbol of what you want to trance-form
to place on the altar (and take home again)

Refreshments will served.

Mama Donna's Tea Garden & Healing Haven

Park Slope, Exotic Brooklyn, NY
For info: 718-857-1343
cityshaman@aol.com

$40 (plus PayPal fee)

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14. Simone Forti, Cathy Weis, FF Alumns, at WeisAcres, Manhattan, March 18

An evening of performance by
Simone Forti and Cathy Weis

Sunday, March 18th
at 6pm

Sundays on Broadway presents an evening of experiments by Simone Forti and Cathy Weis on their Maiden Voyage as collaborators in a space that is so familiar to them both. Forti lived and worked at 537 Broadway for decades. Weis now resides and creates there. They will show early video work and share some of the discoveries made during one week of moving together in the studio.
Beginning this season, we suggest a $10 contribution at the door. With this small contribution, we are able to continue bringing unique performances every Sunday and giving artists an intimate space to share their ideas.

All events begin at 6:00pm. Doors open at 5:45pm at WeisAcres, 537 Broadway, #3. There are no reservations. Seating is first come, first served.

Keep in mind, this is a small space! Please arrive on time out of courtesy to the artists.
For more information, please visit cathyweis.org.

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15. Hector Canonge, FF Alumn, at Queens Museum, Flushing, NY, March 17

LiVEART.US
"Performing Time"
March 17, 2018, 2:00 - 5:00 PM
Hosted at Queens Museum

LiVEART.US, Performance Art initiative created and organized by artist, and independent curator, Hector Canonge, begins its Spring 2018 season program with the special presentation of the program "Performing Time," featuring the work of Butoh artists from France, Brazil, Mexico, Japan, and the United States.

Under the theme "Performing Time," this month's program focuses on various manifestations of Butoh as a time based, performative dance movement, and experiential practice. Guest artists will present selected new works based on the notions of temporality, ephemerality, and/or cultural referencing that Butoh brings to contemporary dance and performative aesthetics.

Featured Artists:
VANGELINE (France), AZUMI OE (Japan) with music by Sean Ali, ANDY KRIGER (United States), ALANA ROSA (Brazil) with music by Junia Flavia d'Affonseca, DENISE VAZQUEZ (Mexico), and MARK BANKIN (United States).

LiVEART.US is platform established to support and feature works by local, national, and international artists working in Performance Art and its diverse manifestations. Created and organized by interdisciplinary artist, Hector Canonge, LiVEART.US features works where the body, as main instrument for artistic creation and expression, is the catalyst for sensorial experiences, cultural interpretation, and critical reflection. The program's main objective is to further support the creation and presentation of new works in Live Action Art in an environment suitable for reflection and dialogue. LiVEART.US follows and complements the monthly program TALKaCTIVE initiated by Canonge in September 2015. Since its inception in 2016, the program has presented the work of artists from diverse cultural backgrounds, ages, gender, and national origin creating a dynamic structure and an international network for the exploration, experimentation and execution of Live Art practices.

Contact: liveart.us@gmail.com
Facebook: https://www.facebook.com/liveart.us/
Website: http://www.queensmuseum.org/events/liveart-us-performance-art-initiative-2

Hector Canonge
Interdisciplinary Arts
www.hectorcanonge.net

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16. Paul Zelevansky, FF Alumn, now online

TO THE GREAT BLANKNESS
MAILING LIST:

Some of you may know that it is the 50th anniversary of Mister Rogers' Neighborhood, and this has brought forth a series of celebrations including a PBS appreciation, a Hollywood documentary coming out in the spring, a future biopic starring Tom Hanks, a Fred Rogers postage stamp, and a variety of media coverage. This seemed like the time to bring back my video series, MISTER ROGERS FOR ADULTS.
Fred Rogers was a wonderful man, sensitive, empathetic, rare. Many people will be acknowledging this. But he was also a brilliant, reflective, disciplined thinker and teacher, and a fierce advocate for what he believed. That is what my project is meant to explore.

MISTER ROGERS FOR ADULTS:

Here is a link to the full set:

http://greatblankness.com/portfolio-gallery/mister-rogers-for-adults/

PZ, 3/2018

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17. Brad Buckley, Jim Costanzo, Nina Kuo, Alexander Melamid, Lorin Roser, EIDIA House, FF Alumns, at Plato's Cave, Brooklyn, opening April 5

Friends and colleagues of EIDIA House, Plato's Cave

Press Release

EIDIA House announces its continuing exhibition initiative 2018, Plato's Cave #28:
"ASSHOLES"

Opening reception April 5
6-8pm
April 5 - April 28, 2018

Hours 1-6pm, Wednesday - Saturday (or by appointment)

"When shit becomes valuable, the poor will be born without assholes."
Henry Miller

"I'm like a ripe stool and the world's like a gigantic anus, and we're about to let go of each other."
Martin Luther

"WHAT'S WRONG WITH ASSHOLES, BABY? YOU'VE GOT AN ASSHOLE, I'VE GOT AN ASSHOLE! YOU GO TO THE STORE AND BUY A PORTERHOUSE STEAK, THAT HAD AN ASSHOLE! ASSHOLES COVER THE EARTH! IN A WAY TREES HAVE ASSHOLES BUT YOU CAN'T FIND THEM, THEY JUST DROP THEIR LEAVES. YOUR ASSHOLE, MY ASSHOLE, THE WORLD IS FULL OF BILLIONS OF ASSHOLES. THE PRESIDENT HAS AN ASSHOLE, THE CARWASH BOY HAS AN ASSHOLE, THE JUDGE AND THE MURDERER HAVE ASSHOLES . . . EVEN THE PURPLE STICKINPIN HAS AN ASSHOLE!"
Charles Bukowski Post Office

Artists: Todd Ayoung, Bruce Barber, Jay Batlle, Fredie Beckmans and Nina Peru, BOLDFACE, Brad Buckley, Deric Carner, Alberto Casais, Jim Costanzo, Michelle B. Duchamp, Jeff Goldberg, Heike Hamann, Irene Hug, Helen Hyatt-Johnston, Thatcher Keats, Nina Kuo, Cecilie Beck, Sean Lowry, Valerian Maly, Alexander Melamid, Lorin Roser, Mark Shorter, Clark Stoeckley, Ripley Whiteside, Hans Winkler and Bob Witz.

Due to the deep philosophical and psychological 'aspects' that are the subject of this exhibition we restrict the viewing of ASSHOLES to individuals who are older than 18 year of age. We apologize.

Alexander Melamid presented his oil on canvas diptych to EIDIA House just after it was completed in 2016-a homage in the 150th anniversary of the creation of "L'Origine du Monde", 1866, the masterpiece by Gustave Courbet. As the diptych hung in the EIDIA House it consistently "struck a cord" garnering considerable 'notice' and comment from our many colleagues and friends who drop by. With assholes a-buzz, Melamid suggested a Plato's Cave exhibition of many offerings on the topic. Considering the abundance of contemporary models to take inspiration from, why just two assholes? An esteemed roster of artists quickly emerged advancing their own personal renderings on the topic.

As with the assholes that predominated in Courbet's time, and now in ours, the social media landscape of intentional divisiveness has opened the 'fowl-mouth' floodgates and a vogue for, if you will 'assholeism'. And from where artists sit proverbially on our asses stunned and enraged-inspiration runs like diarrhea-unceremoniously depositing a theoretical groundwork for the examination of who and what 'make the world go-round'. The contributions we have receive suggest that these curator's fingers pressed the right mental "sphincter" muscle that reveals there are too many ASSHOLES.

"'There ought to be an absolute dictatorship... a dictatorship of painters... a dictatorship of one painter... to suppress all those who have betrayed us...'said Picasso.
We're getting close to the realization of a dream of the great artist. Another of our era's artistic god Andy Warhol said: 'Good business is best art' and something else about publicity as an artistic tool. Our present Commander-in Chief is a legitimate follower of the artistic geniuses of our time and a genius himself. A true 'Warhole.'" Alexander Melamid

Given the times we live in, with man and his history constantly repeating itself, the current situation calls for more critique on Assholes-not less.

For PLATO'S CAVE, EIDIA House Inc., Co-Directors Melissa P. Wolf and Paul Lamarre (aka EIDIA) curate invited fellow artists to create an installation with (in some cases) an accompanying limited edition. EIDIA House functions as an art gallery and meeting place, collaborating with artists to create "socially radical" art forms-framed within the discipline of aesthetic research.

Plato's Cave at EIDIA House
14 Dunham Place
Brooklyn, NY 11249

Contact Paul Lamarre or Melissa Wolf
646 945 3830
eidiahouse@earthlink.net
https://www.eidia.com/

Trains: J, M & L

Hours 1-6pm, Wednesday - Saturday (or by appointment)

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18. LAPD, FF Alumns, at Skid Row History Museum and Archive, Los Angeles, CA, March 16

Los Angeles Poverty Department's Movie Nights at the Museum

Friday, March 16, 2018 at 7pm - The Florida Project

Free movie screenings, free popcorn, free coffee & free conversation. Every 1st and 3rd Friday of the month, we
screen movies about issues that are important to our Skid Row and downtown community at the #skidrowmuseum.

Location: Skid Row History Museum and Archive, 250 S. Broadway, Los Angeles, CA 90012

"The Florida Project" - directed by Sean Baker
Warm, winning, and gloriously alive, Sean Baker's The Florida Project is a deeply moving and unforgettably poignant look at childhood.
Set on a stretch of highway just outside the imagined utopia of Disney World, The Florida Project follows six-year-old Moonee (Brooklynn Prince in a stunning breakout turn) and her rebellious mother Halley (Bria Vinaite, another major discovery) over the course of a single summer. The two live week to week at "The Magic Castle," a budget motel managed by Bobby (a career-best Willem Dafoe), whose stern exterior hides a deep reservoir of kindness and compassion.

About Los Angeles Poverty Department
Currently celebrating its 33rd year, Los Angeles Poverty Department was the first ongoing arts initiative on Skid Row. LAPD creates performances and multidisciplinary artworks that connect the experience of people living in poverty to the social forces that shape their lives and communities. LAPD's works express the realities, hopes, dreams, and rights of people who live and work in L.A.'s Skid Row. LAPD has created projects with communities throughout the US and in The Netherlands, France, Belgium, and Bolivia. LAPD's Skid Row History Museum and Archive project is supported with funding from the California Humanities Council.

About Skid Row History Museum and Archive
The Skid Row History Museum & Archive operates as an archive, exhibition, and performance and meeting space curated by LAPD. It foregrounds the distinctive artistic and historical consciousness of Skid Row, a 40-year-old social experiment. The Skid Row History Museum & Archive functions as a means for exploring the mechanics of displacement in an age of immense income inequality, by mining a neighborhood's activist history and amplifying effective community strategies. Exhibitions focus on grassroots strategies that have preserved the neighborhood from successive threats of gentrification and displacement, to be studied for current adaptation and use.

(213) 413-1077 www.lapovertydept.org info@lapovertydept.org

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19. Verónica Peña, FF Alumn, at No Nation Art Gallery, Chicago, IL, March 17.

Cuerpos Llevados (Carried Bodies)
Performance
No Nation Art Gallery, Chicago, IL
March 17, 2018

Please, follow these links for information about the Festival:
https://www.facebook.com/NoNationUnspaceLab/
http://www.veronicapena.com/news.html
"CUERPOS LLEVADOS" (CARRIED BODEIS) is a performance about struggle, imposed limitations, resistance, and liberation. Inspired by female ship figureheads and commemorative sculptures, "Carried Bodies" proposes the use of performance art as a tool of self-affirmation and empowerment. "Llevados" means carried, taken, transported, oppressed, held, and cuddled by the past, by destiny, the system, and others. Using my body and a large object, I refer to personal, historical, and social ties to reveal structures that constrain our bodies. "Carried Bodies" is an attempt to overcome the limitations and invisible barriers that challenge our daily existence. Performing a series of actions that take the body into "impossible to maintain postures", I challenge established relationships between the body, the space, and the others around us. This performance is a homage to those that-lost, or involuntarily carried by others-are trying to find their way to freedom.
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 experimental 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, Hemispheric Institute of Performance and Politics, 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 to the Franklin Furnace Fund 2017-18. She was a recipient of the Socrates and Erasmus Grants, a Universidad Complutense de Madrid Fellowship, and a candidate for the Dedalus Foundation Grant. 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

No Nation Art Gallery
1542 N Milwaukee Ave, 2nd Floor
Chicago, Illinois 60622

Verónica Peña
Interdisciplinary Artist
www.veronicapena.com
veronicapemar@gmail.com

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20. Ree Morton, Allan Schwartzman, FF Alumns, at Institute of Contemporary Art at the University of Pennsylvania, Philadelphia, March 16-17

Using the Self to Imagine the World: Conversations on Ree Morton
A symposium focused on the life and practice of Ree Morton
March 16-17, 2018

Institute of Contemporary Art at the University of Pennsylvania (ICA)
118 S.36th Street
Philadelphia, PA 19104
USA

icaphila.org

Join artists, curators, and scholars for presentations and conversations on the legacy of artist Ree Morton (b. Ossining, New York 1936; d. 1977), who will have her first major exhibition in the United States in nearly 40 years at the Institute of Contemporary Art in fall of 2018. Symposium participants include Tang Museum Director Ian Berry; artist Nayland Blake; art historian Sabine Folie; Alexander and Bonin Gallery Director Kathryn Gile; Founder and Principal of Art Agency, Partners, and Chairman of Sotheby's Fine Art Division Allan Schwartzman; and Director of Exhibitions at the University of the Arts, Philadelphia Sid Sachs.

Morton's short, but prolific career was profoundly shaped by her time in Philadelphia, where she attended graduate school and taught for several years. Her installations, sculptures, drawings, and paintings span a single decade of artistic production before her untimely death in 1977. Though the eclectic arc of Morton's practice was rooted in post-Minimalism, a poetic approach to language and symbolism progressively distanced her work from easy categorization in the early to mid-70s. Her inclusion of narrative-through literary, philosophical, and autobiographical references-and use of bold color and theatrical imagery infused these objects and installations with sly humor and a prescient concern with the decorative, generating a feminist legacy increasingly appreciated in retrospect. Morton's conceptually rigorous work can seem esoteric at times, yet her intention is ultimately one of generosity towards the viewer, and it is this spirit of generosity, playfulness, and joy that this symposium-and subsequent exhibition-hopes to expand.

Participants include Becca Albee, Ian Berry, Nayland Blake, Cynthia Carlson, Roksana Filipowska, Sabine Folie, Kathryn Gile, Anissa Mack, Sid Sachs, Allan Schwartzman, and Abi Shapiro.

Organized by Kate Kraczon, Laporte Associate Curator and Lauren Downing, Curatorial Assistant, with Tausif Noor, Spiegel-Wilks Curatorial Fellow.
Free and open to the public. Registration is appreciated, but not required. Register here.
Friday, March 16
6:30pm: Keynote Lecture: Sabine Folie: Performing Sculpture, Performative Language: The "Allegorical Impulse" in Ree Morton's Work
Saturday, March 17
9:30am: Amy Sadao and Kate Kraczon: Introductions
10am: Abi Shapiro: Why Have There Been No Great Women Installation Artists? Ree Morton and Feminist Art History
10:20am: Roksana Filipowska: Of Plastics and Plants: Ree Morton's Celastic as Pharmakon
10:40am: Kathryn Gile: Don't worry, I'll only read you the good parts
11am: Discussion moderated by Lauren Downing
11:30am-1pm: Break
1pm: Nayland Blake leads a tour of their current ICA exhibition Tag: Proposals on Queer Play and the Ways Forward
2pm: Sid Sachs: Ree Morton and the Philadelphia School
2:20pm: Cynthia Carlson: Remarks on a Friendship
2:40pm: Allan Schwartzman: Ree: Take 3
3pm: Discussion moderated by Tausif Noor
3:30pm: Break
4pm: Nayland Blake: 15 things I'm still learning from Ree Morton
4:20pm: Anissa Mack: AM x RM (thanks, Frank Bramblett)
4:40pm: Becca Albee
5pm: Discussion moderated by Ian Berry
5:30: Kate Kraczon: Conclusion
6pm: Reception

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21. Barbara Rosenthal, FF Alumn, in Ragazine.cc , now online

Happy reading! Barbara Rosenthal's column "A Crack in the Sidewalk" on the philosophy of art, is up on Ragazine -- In this bi-monthly column , she takes up the production of meaning in art fabrication: What are you doing? Do you know? When? Before of After?. See what you think: http://ragazine.cc/2018/03/barbara-rosenthal-a-crack-in-the-sidewalk-2/

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Goings On is compiled weekly by Harley Spiller