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Contents for April 11, 2018

Helen Mayer Harrison, FF Alumn, In Memoriam

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

https://www.artforum.com/passages/caroline-jones-helen-mayer-harrison-19272018-74887

Artforum
PASSAGES
HELEN MAYER HARRISON (1927-2018)
April 07, 2018 • Caroline A. Jones

HELEN MAYER AND NEWTON HARRISON, often referred to simply as "the Harrisons," became known for their ecological systems art, which first emerged in the early '70s. Helen is no more on this earth she loved, but we can imagine her serenity at contributing to its energies on another level. In her own words in a recent catalogue, she relates how her art career began: "I, Helen, began to invest myself in the earth that Newton had made." But we are not obliged to take such a modest statement literally; we can leverage it by listening to the sharp wit and lively voice in scores of online interviews addressing the Harrison Studio's complex research-based practice, or we can recall how, as early as 1962, she was the first New York coordinator for the Women's Strike for Peace-which was simultaneous with her life-changing reading of Rachel Carson's Silent Spring.

How to disentangle authorship in any collaboration? Architectural studios are miserable when it comes to attributional politics; artistic studios usually deny collaboration altogether. As feminists know well, the challenge is even more vexed for the female half of a partnership, particularly when that collaboration is nested in a marriage. In the case of Helen Mayer Harrison, once she left her first career as a teacher and administrator to become an artist, there was no going back. Her participation as a full collaborator, which became "official" around 1972, began with parallel play. An early work for the Los Angeles Women's Building, Making Jam (installed at the Grandview Gallery of the Women's Building in 1974), is now historicized by the Harrison Studio as Making Earth, Then Making Strawberry Jam (1969-70), connecting her "Jam" performance to Newton's earlier solo project of producing humus-rich soil from disparate ingredients. This yoking together of the two durational performance-actions revealed how the collaboration consistently reconsidered, rethought, and reinterpreted its joint work. Helen's "investment" in Newton's earth-making activity brought strawberries, then jam, into being-and this would introduce a crucial cyclical and negentropic component to the collaboration that would come to distinguish this work from the entropic inclinations of Smithson et al., and become characteristic of the Harrisons' expansive urban-agricultural and multispecies imaginary.
Thanks to the official website for the Harrison Studio, and the alpha order of their publications, the dominant phrasing (at least per Google's algorithm) is "Helen and Newton," not the other way around. The sense from the literature and lecture circuit was that Newton was the "alchemist" and builder; Helen the scholar and theorist who also brought photography and text to the practice; this is rhetorically embraced in an early scripting of their collaboration that casts Newton as "Lagoonmaker," her as "Witness." (But this was not to render her passive-in The Fifth Lagoon, 1975, the Witness holds the Lagoonmaker in check when he wants to take over the Salton Sea). Together, their activist interventions (including the notable "Lagoon Cycle," fifty installments beginning in 1972; Hog Pasture: Survival Piece #1, back-credited to include Helen, from 1970-71; Portable Orchard, 1972-73; and the most recent Force Majeure, 1993-2011) have become legendary, their importance only increasing with our reluctant acknowledgment of the Anthropocene.

Newton Harrison, the surviving partner and the oft-interviewed "voice" of the practice, has always been remarkably open about the gifts Helen brought to their fifty years of art-making together. He also recalls the struggles it took to win that desired equality. (Negotiating a fifty-fifty split in his full-time-equivalent faculty position with Helen at the University of California, San Diego, proved the devil to negotiate with the Cal system. But doing so allowed her to teach, and confirmed her full access to the system's crucial research libraries.) Newton celebrated Helen as "the brains" who brought the science of climate change into their thinking as early as 1974; she was "a genius at research" who could find the most amazing things in public records; her readings of scientific papers informed their position as "transdisciplinary" artists; and finally, her productive arguments with him defined the dialectical nature of their collaboration. Helen said simply, "he has the first word, and I mostly have the last word."1Historians can observe the incremental effect of Helen on the partnership. Ebbing away are earlier characterizations of Newton as a "techno-artist" (as Max Kozloff described him in a 1971 Artforum review of the "Art & Technology" show) or as a solo earth-systems artist in colloquy with Hans Haacke, Robert Smithson, and Robert Morris. Gradually, the partnership with Helen led the Harrison Studio into a class by itself. By the 1980s, the collaboration had forged a unique model of commissioned engagement with municipalities, nations, NGOs, and local ecosystems that went way beyond "site-specific" think pieces, aiming at providing sustainable interventions in urban form and/or on a geographic scale. If Newton was the sculptor who aspired to "terraforming" (a sci-fi term once reserved for shaping other planets, it is now imagined for rescuing our own), Helen was the biotheorist and planner who envisioned the essential step between science and policy as the "creation of empathy for a place," as William Fox put it.2

In the magisterial recent publication from the Harrison Studio, The Time of the Force Majeure: After 45 Years, Counterforce is on the Horizon (Munich: Prestel Verlag, 2016), there is a rousing call for a new species of hominid: the "inspired generalist" seeding a "new species genetically tuned to maintaining the well-being of the polycultures from which we have evolved." Helen did her best to be that new hominid, sensing and being the biome and the ecotone. Believing in poetic condensation, she put everything she had into their art. Mobilizing what John Berger referred to as the "undefeated despair"3 of our relations to extraction, geopolitics, ecoterrorism, and turbocapitalism, Helen Mayer Harrison gave us hope and a recipe for how to evolve as anthropogenic agents of our own precarious future.

Caroline A. Jones is director of the history, theory, and criticism program at the Massachusetts Institute of Technology.
NOTES


1. Helen Mayer Harrison, with Newton Harrison, in Beth Stephens and Annie Sprinkle, "Interview with the Harrisons," Total Art Journal 1:1 (Summer 2011): 7.
2. The Time of the Force Majeure: After 45 Years Counterforce is on the Horizon, (Munich: Prestel Verlag, 2016).
3. John Berger, "Undefeated Despair," Critical Inquiry, 32:4 (Summer 2006): 602-609.

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Robert T. Buck, FF Alumn, In Memoriam

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

http://buffalonews.com/2018/04/05/robert-t-buck-former-albright-knox-and-brooklyn-museum-director-dies-at-79/

Robert T. Buck, former Albright-Knox and Brooklyn Museum director, dies at 79
By Colin Dabkowski | Published April 5, 2018 | Updated April 5, 2018

An important piece of Robert T. Buck's legacy stands gleaming on Niagara Square, a tensile structure of polished stainless steel set against the muddy concrete backdrop of Buffalo City Court.
The sculpture, Kenneth Snelson's "Coronation Day," was installed in 1980 after several years of controversy and political squabbles over its commission and a suggestion from then-mayor and armchair art critic Jimmy Griffin that it would be better suited for the bottom of Lake Erie.

More than any other factor, it was the patience and diligence of Mr. Buck, who led the Albright-Knox Art Gallery from 1973 to 1983, that enabled the installation of this adventurous-for-Buffalo piece on such a prominent site.

Upon the completion of a model for the piece in 1979, Buck praised Snelson's work for "the delicacy of its equilibrium and harmony of forces" and called it "an extraordinary personal achievement on the part of one of our leading American sculptors."

Mr. Buck, who died March 30 at 79 after a battle with cancer, was an instrumental figure in Buffalo's visual arts scene, both at the gallery and in the community. His decade-long stint as director at the Albright-Knox was defined by a bookish enthusiasm for the work of contemporary American artists and an involvement in Buffalo's burgeoning avant garde art scene that set a precedent for future directors.

"From the very beginning, Bob Buck and his curatorial staff were welcoming and encouraging of Hallwalls and the Hallwalls artists," said Edmund Cardoni, director of Hallwalls Contemporary Arts Center. The open attitude of the director and his staff, Cardoni added, led to "major collaborations on joint, multi-venue exhibitions that probably made the Albright-Knox's programming more immediately responsive to the newest American artists, including women artists, than most museums of its stature, even in New York City."

During his time at the Albright-Knox, Mr. Buck organized major exhibitions on the work of Sam Francis (1972), Richard Diebenkorn (1976), Cleve Gray (1977), Sonia Delaunay (1980) and Fernand Leger (1982). He also oversaw several important exhibitions, expanded the gallery's education department and supervised the publication of the much-cited volume "Albright-Knox Art Gallery: Painting and Sculpture from Antiquity to 1942."

Robert Treat Buck was born Feb. 16, 1939, in Fall River, Mass. He earned a bachelor's degree from Williams College in Williamstown, Mass., in 1961 and went on to earn a master's degree in art history from the Institute of Fine Arts of New York University in 1965.

After a stint as a management trainee at the Chemical Bank New York Trust in New York City, he began his museum career at the Toledo Museum of Art in 1964. Mr. Buck went on to work as an assistant curator and instructor at Washington University in St. Louis, Mo., and to direct the university's art gallery from 1968 to 1970.

At 31, he clinched the assistant director job at the Albright-Knox in 1970 under the legendary director Gordon Smith, who built the museum's world-class collection of post-war art with Seymour H. Knox Jr.

He was selected as Smith's replacement in 1973, described by Buffalo Evening News Art Critic Jean Reeves as "a young man of strong convictions, effervescent spirits, driving energy and the determination to keep the institution on the distinguished course charted by his predecessors."

"Buffalo is a sports-minded community, and on that level it's in the big leagues," Mr. Buck once said during a public debate over the gallery's role in Buffalo's art community. "The same standard must be maintained in art."

During his time in Buffalo, Mr. Buck championed adventurous American artists like Sam Francis and local artists like Duayne Hatchett. He was also instrumental, according to a release from the Albright-Knox, in securing a "vast increase in grant funding" from state and federal sources.

At the Brooklyn Museum, Mr. Buck's tenure was defined both by a period of major expansion and funding challenges.

Mr. Buck's love for art, he told The News in 1973, began when he met a particularly passionate professor at Williams College who opened his eyes to the beauty and meaning of visual art.

"I had a feeling of getting mixed up with something extraordinary, of history and how it affected people and the artists themselves; how they pulled sensations and forms together into a plastic statement of overwhelming quality," Mr. Buck said. "From then on I was never satisfied with anything else as a life purpose."

Mr. Buck is survived by his wife, Nicole, along with two sons, Thomas and Philip, and two grandchildren, Liam and Kyle.

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1. Susan Bee, Mira Schor, Martha Wilson, FF Alumns, now online at hyperallergic.com

Hi all,

The article on our show and discussion is now out on Hyperallergic with photos from the exhibit.

https://hyperallergic.com/435959/mira-schor-susan-bee-meaning/

I think it turned out well.

All the best,

Susan

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2. Jacki Apple, FF Alumn, now online (link correction)

The correct link to the film ursonate/URSONATE directed by Jacki Apple is
http://intermediaprojects.org/pages/UrFilmVimeo.html

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3. Alexander Hahn, FF Alumn, at The Shed, Brooklyn, April 28-May 8

The Shed presents
Alexander Hahn - India Material
April 28th, 2018 -- 8:00PM
April 29th - May 8th by appointment

Alexander Hahn - India Material
On Saturday, April 28th at 8:00 PM, The Shed will host an exhibition of digital and kinetic works by Alexander Hahn entitled India Material.
India Material is an artistic meditation on the spiritual concept of reincarnation, the endless cycle of birth, death, and rebirth. The fruit of an artist residency in India, the works integrate video with early forms of animation and historic devices, precursors to modern time-based media. The loop in particular acts as a vehicle to virtually sculpt from everyday life essential, alas transient moments while keeping everything in flux - replay ad infinitum.
Alexander Hahn (b. 1954 in Rapperswil, Switzerland) is an electronic media artist best known for his works in video, computer imagery and print, animation, virtual reality, installation, and writing. He addresses the electronic signal as a technological metaphor for perception, memory and dream. Hahn's work has been exhibited in museums, galleries and festivals worldwide. Solo exhibitions include Harvestworks, New York, The International Center of Photography, New York, Kunstmuseum Solothurn, Switzerland, Museum der Moderne, Salzburg, Austria, Padiglione d'Arte Contemporanea, Ferrara, Italy, Galeria Foksal, Warsaw, Poland. For a complete CV, see the artist's website: http://alexanderhahn.com
India Material was made possible with friendly support by the Swiss Arts Council Pro Helvetia and the Lottery Endowment Fund, Cultural Council Canton St. Gallen, Switzerland.

For more information about The Shed, visit http://shedspace.org/ Refreshments will be served, feel free to bring your favorite beverage.

Copyright (c) 2018 The Shed Space, All rights reserved.
You are receiving this email because you singed up at www.shedspace.org.

Our mailing address is:
The Shed Space
366 6th Street, Brooklyn, NY 11215
Brooklyn, NY 11215

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4. Stephanie Bernheim, FF Alumn, at Hudson Hall, Hudson, NY, April 21, and more

As part of Pixels and Particulates exhibition
I am doing an event April 21 at 4pm- the lighting of the Tower of Tires at Hudson Hall, 327 Warren St., Hudson, NY

"Particulates" - In Common Council Room -devoted to History of Hudson.
Given today's political assault against environmental protection, I propose we remember and celebrate a time 2001 -2004 when the Hudson community rallied together and successfully fought against expansion of St Lawrence Cement. Those toxic chemicals would have threatened the entire Hudson Valley, Berkshires Mountains and all the way to Maine.

thanks,
stephaniebernheim@gmail.com
www.stephaniebernheim.com
Pixels and Particulates
March 24 - May 13, 2018
Hudson Hall, 327 Warren Street, Hudson, NY 12534, 518-822-1438
hudsonhall.org

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5. Melanie Crean, FF Alumn, receives A Blade of Grass fellowship 2018

A Blade of Grass is pleased to announce our 2018 cohort of ABOG Fellows for Socially Engaged Art!

Artists Rachel G. Barnard, Melanie Crean, Brian Harnetty, Miguel Luciano, Gregory Sale, Jordan Weber, and collectives Las Imaginistas and Our Mothers' Kitchens will join a growing body of artists and artist collectives that A Blade of Grass collaborates with and directly supports. At the core of the program is the ongoing goal to build a body of field research, films, publications, public programs and web content that highlight the expanding practice of socially engaged art at the intersection of art and social change.

Click here to read the Fellowship announcement on ARTnews!

The 2018 Fellows will realize projects in Brownsville, Texas; Hartford, Connecticut; the San Francisco bay area; Shawnee, Ohio; Omaha, Nebraska; Philadelphia, and New York City, where they will be exploring issues of criminal justice reform, history preservation, food justice, gentrification, and environmental and racial justice, among others. The final eight projects were chosen by two selection committees from an initial pool of 476 domestic and international applicants. These applicants were selected as leading examples of artists engaging community members as equal partners in ambitious and creative collaboration.

About the 2018 ABOG Fellows

Using creative processes to foster transformational relationships at the NYC Department of Probation
Artist RACHEL G. BARNARD will create The Fair, a project focused on fostering transformational relationships between Department of Probation officers and clients, as part of the 2018 NYC Department of Cultural Affairs' Public Artist in Residence (PAIR) program. Barnard will develop a series of concrete interventions in collaboration with the DOP community, to be staged across all five boroughs. Interventions will restructure moments of human connection and promote a shared sense of belonging between the groups. Learn more.

Creating dialogue between Hartford youth and law enforcement
Artist MELANIE CREAN will create No Such Place as America, a collaboration between Patricia E. Kelly, Founding President / CEO of Ebony Horsewomen in Hartford, Connecticut; members of the Hartford Police Department; and local high school students. This team will use equine therapy and participatory narrative techniques to form a new shared, non-verbal, creative vocabulary to increase trust and foster mutual understanding between the police and students. The project's transdisciplinary methods will be documented in order to be borrowed and reproduced in other communities. Learn more.

Facilitating environmental awareness through sound
Musician BRIAN HARNETTY will create Fracked Forest Listening Rooms near the town of Shawnee in rural Appalachian Ohio, inviting local community members including miners and construction workers to gather and critically listen to various outdoor spaces in the Wayne National Forest, an environmental site at risk of fracking. Participants will hear soundscapes created from archival recordings of local oral histories layered over the natural sounds of the forest. After the listening session, participants will share their own experiences, hopes, and fears. These stories will be recorded and remixed into future sessions, creating a continually expanding sonic map of the forest's past and present. Harnetty is the 2018 ABOG Fellow for Contemplative Practice, in partnership with Hemera Foundation. Learn more.

Honoring and reinvigorating the Young Lords' activism in East Harlem
Artist MIGUEL LUCIANO is creating Island/Inland PROMESAS, a project that explores stories of resistance and resilience within the Puerto Rican community during times of crisis, from the post-civil rights era to the post-Hurricane Maria present. The project is centered in East Harlem and anchored around a series of billboards and projections placed by the artist. The billboards and projections deploy historical documentary photographs of actions done by the Young Lords, a Puerto Rican activist organization founded in the late 1960s. Each billboard or projection image will depict a historical event, and will be sited where the actual event took place. Walking tours, intergenerational community workshops, and other programming will simultaneously honor the activist history of East Harlem and examine the current plight in Puerto Rico, with a goal of activating new strategies to aid a community in desperate need. Learn more.

Reframing the narrative of re-entry
In collaboration with individuals honing their ability to succeed after incarceration, artist GREGORY SALE is developing Future IDs at Alcatraz. Project participants create ID-inspired artworks to portray their own visions of their future selves in contrast to their prison-issued IDs. Future IDs comprises a year-long exhibition, workshops, and public programs across California, developed in partnership with the Los Angeles-based Anti-Recidivism Coalition (ARC). Sale is the 2018 ABOG-David Rockefeller Fund Joint Fellow in Criminal Justice. Learn more.

Enacting the teachings of Malcolm X in North Omaha
Artist JORDAN WEBER will create 4MX Greenhouse (4 Malcolm X Greenhouse), a sculptural and programmatic artwork built on a philosophy of four pillars of health: Malcolm X's legacy of self-empowerment and determination; soil and air cleansing; spiritual reflection and meditation; and medicinal and food supply. A greenhouse in the shape of Malcolm X's birth house will be built on his birth site in North Omaha, a neighborhood with a history of poverty and social and economic challenges defined by racial boundaries and food desert status. The greenhouse will produce food crops and act as the site of spiritual practice and other community-based programming. Learn more.

Preserving Black culture through food
Working collectively as OUR MOTHERS' KITCHENS, Khaliah D. Pitts and Shivon Love will host a series of community dinners of the same name, each focused on a Black female writer. The dinners will create a space in which participants can connect to a lineage of literature and food from the African diaspora, reclaiming and affirming cultural influences and celebrating ancestry and memory. Learn more.

Enacting a decolonized future for Brownsville, Texas
Working collectively as LAS IMAGINISTAS, Christina Patiño Houle, Celeste De Luna, and Nansi Guevara will facilitate Hacemos La Ciudad (We Make the City), a multi-phase project that will examine how state and federal militarization initiatives in Brownsville, at the US-Mexico border, have impacted urban development and civic art. The artist cooperative will collaborate with local scholars and residents to hold planning sessions and performative movement workshops, developing a new Plan de Arte Cívica del Pueblo Entero (Civic Art Plan of the People) for Brownsville. Learn more.

About A Blade of Grass and the ABOG Fellowship for Socially Engaged Art
A Blade of Grass is an arts organization that nurtures socially engaged art by:
• Creating web and print media, public programs, and research about socially engaged art projects
• Advocating for artists working in the expanded field
• Providing direct financial support to artists

A Blade of Grass is committed to presenting stories about artists working as creative change makers. In an effort to highlight the expanding practice of socially engaged art and to expand how this type of work is supported, the selected projects become the focus of ABOG's free public programming, field research, short documentary films, and print and web-based content. To support their projects, each ABOG Fellow will receive an unrestricted stipend of $20,000. To nurture this growing movement of artists working as creative change makers in communities, A Blade of Grass is proud to work in partnership with David Rockefeller Fund and Hemera Foundation on issue-based fellowships. Now in its third year, the ABOG-David Rockefeller Fund Joint Fellowship in Criminal Justice examines the transformational roles artists play in a criminal justice context. In partnership with Hemera Foundation, the ABOG Fellowship for Contemplative Practice is now in its second year and supports artists who work at the intersection of social practice and contemplative practice.

Supporters
The ABOG Fellowship for Socially Engaged Art is made possible through the generous support of over 100 individual contributors and foundation and government partners. We are grateful for major contributions from David Rockefeller Fund, Hemera Foundation, National Endowment for the Arts, Rockefeller Philanthropy Advisors, and Groundbreakers Agnes Gund, Eva Haller, Shelley Frost Rubin, and Linda Schejola. Related public programs are supported in part by public funds from the New York City Department of Cultural Affairs in partnership with the City Council; the American Chai Trust; and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.

To learn more about A Blade of Grass and the artists we work with, please visit: www.abladeofgrass.org. Join the conversation with A Blade of Grass on Facebook (A Blade of Grass), Twitter (@abladeofgrass) and Instagram (@abladeofgrassnyc) and via the hashtag #ABOGFellows.

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6. Robbin Ami Silverberg, Warren Lehrer, FF Alumns, at Pratt Library, Brooklyn, April 18

April 18th from 5 - 7:30pm, there will be a multifaceted event at Pratt Library to celebrate the launch of the BOOK minor

In the Alumni Reading Room, there will be a book performance by Warren Lehrer, "A Life in Books".
Throughout the library there will be 3 exhibitions organized by Book minor coordinator, Robbin Ami Silverberg:
Artist books by students from TECH 545, Art of the Book, Artist books by Warren Lehrer, and Artist books in the Pratt Library Collection.
A reception will follow the performance.

Pratt students, administration & faculty are all invited; students interested in the minor are especially encouraged!

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7. Kate Gilmore, Charles Yuen, FF Alumns, receive John Simon Guggenheim Memorial Foundation Fellowships 2018

Congratulations to Kate Gilmore and Charles Yuen, FF Alumns, who have been selected as 2018 Fellows by the John Simon Guggenheim Memorial Foundation!

On April 4, 2018, the Board of Trustees of the John Simon Guggenheim Memorial Foundation approved the awarding of 173 Guggenheim Fellowships (including two joint Fellowships) to a diverse group of scholars, artists, and scientists. Appointed on the basis of prior achievement and exceptional promise, the successful candidates were chosen from a group of almost 3,000 applicants in the Foundation's ninety-fourth competition. The great variety of backgrounds, fields of study, and accomplishments of Guggenheim Fellows is one of the unique characteristics of the Fellowship program. In all, forty-nine scholarly disciplines and artistic fields, sixty-nine different academic institutions, thirty-one states, and three Canadian provinces are represented in this year's class of Fellows, who range in age from twenty-nine to eighty. Sixty Fellows have no academic affiliation or hold adjunct or part-time positions. Edward Hirsch, president of the Foundation, is enthusiastic about the Fellows in the class of 2018: "It's exceptionally satisfying to name 175 new Guggenheim Fellows. These artists and writers, scholars and scientists, represent the best of the best. Each year since 1925, the Guggenheim Foundation has bet everything on the individual, and we're thrilled to continue to do so with this wonderfully talented and diverse group. It's an honor to be able to support these individuals to do the work they were meant to do." Since its establishment in 1925, the Foundation has granted more than $360 million in Fellowships to over 18,000 individuals, among whom are scores of Nobel laureates, Fields Medalists, poets laureate, members of the various national academies, and winners of the Pulitzer Prize, Turing Award, National Book Awards, and other important, internationally recognized honors. The Guggenheim Fellowship program remains a significant source of support for artists, scholars in the humanities and social sciences, and scientific researchers. New and continuing donations from friends, Trustees, former Fellows, and other foundations have ensured that the John Simon Guggenheim Memorial Foundation will be able to continue its historic mission. The Dorothy Tapper Goldman Foundation is once again underwriting the Fellowship in Constitutional Studies, and a grant from the Aaron Copland Fund for Music is supporting supplemental grants for composers. For more information on the Fellows and their projects, please visit the Foundation's website at http://www.gf.org.

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8. R. Sikoryak FF Alumn, at Pen World Voices Festival, Manhattan, April 21

PEN World Voices Festival presents:

Comics Carousel: Graphic Novels Come to Life

Saturday, April 21
5pm-6pm

Town Stages, Main Space 221 West Broadway, New York, NY 10013

It's a little bit of theater and a whole lot of art as comics artists Pénélope Bagieu (Brazen), Mariko Tamaki (Lumberjanes), Iasmin Omar Ata (Mi(s)hadra) and Tony Medina (I Am Alfonso Jones) join in a comics Carousel led by R. Sikoryak to showcase their visual talents and unique perspectives-and perform parts from their books! Original and subversive, they share their singular stories from the frontlines of comics that resist clichéd narratives and reimagine our futures. Q&A with the authors to follow.

Tickets and info: https://worldvoices.pen.org/session/comics-carousel-graphic-novels-come-life/
https://www.facebook.com/events/185090132083315/

Copyright (c) 2018 R. Sikoryak, All rights reserved.

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9. Babs Reingold, FF Alumn, at David & Schweitzer Contemporary, Brooklyn, opening April 13

Painting Into Sculpture
at
David & Schweitzer Contemporary
Opening Reception: April 13th 6-9pm
April 13 - 29, 2018

I'm pleased to exhibit "Luna Window: Ladder No 16" with David & Schweitzer Contemporary

"Painting Into Sculpture" is a group exhibition in conjunction with "Sculpture 56", a six-week long sculpture event held at eleven participating galleries at 56 Bogart Street in Bushwick Brooklyn

Painting Into Sculpture
at David & Schweitzer Contemporary
April 13 - April 29, 2018
56 Bogart St. Brooklyn NY 11206
For more information contact Michael David at michael@davidandschweitzer.com

Copyright (c) *2018* *Babs Reingold Arttist*, All rights reserved.
Our mailing address is:
*babs.rr@gmail.com*

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10. Chun Hua Catherine Dong, FF Alumn, at Surrey Art Gallery, BC, Canada, April 14, and more

April 19: Artist Talk at Studio XX, Montreal
April 19-22:Papier Fair, Montreal
April 14: Performance at Surrey Art Gallery, Surrey, BC
April 11: Artist Talk and Screening at Granville Island Studio, Vancouver
April 7-11: Residency at AgentC, Vancouver

https://studioxx.org/en/activities/body-conversation-chun-hua-catherine-dong-louise-orwin/
https://www.agentcprojects.com
http://www.surrey.ca/culture-recreation/26117.aspx

Chun Hua Catherine Dong is a Chinese-born Montreal based artist working with performance, photography, and video. She received a BFA from Emily Carr University Art & Design and a MFA from Concordia University. She has performed and exhibited her works in multiple international performance art festivals and venues, such as Quebec City Biennial, The Musée d'Art Contemporain du Val-de-Marne, Canadian Museum of Immigration, The Aine Art Museum, Kaunas Biennial,Museo De La Ciudad, Querétaro, Mexico Rapid Pulse International Performance Art Festival in Chicago, 7a*11d International Festival of Performance Art in Toronto, Place des Arts in Montreal, Dublin Live Art Festival and so on. She was the recipient of the Franklin Furnace Award for contemporary avant-garde art in New York in 2014 and listed "10 Artists Who Are Reinventing History" by Canadian Art Magazine in 2017.
http://chunhuacatherinedong.com

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11. Laura Blacklow, FF Alumn, now online at TwoCoatsofPaint.com

Laura Blacklow on painterly photo processes - Two Coats of Paint
Contributed by Sharon Butler. Please visit this link:

http://www.twocoatsofpaint.com/2018/04/laura-blacklow-painterly-photo-processes.html?utm_source=MadMimi&utm_medium=email&utm_content=Nancy+Baker+%40+Odetta+%28Last+chance%29%2C+Laura+Blacklow%2C+alternative+photo+processes%2C+Rachelle+Krieger%2C+more&utm_campaign=20180407_m144869521_April+3%2C+2018+1&utm_term=Laura+Blacklow+on+painterly+photo+processes

Thanks,
Laura
Author, New Dimensions in Photo Processes: A Step by Step Manual for Alternative Techniques, NEW 5th edition
Best price---https://www.routledge.com/New-Dimensions-in-Photo-Processes-A-Step-by-Step-Manual-for-Alternative/Blacklow/p/book/9781138632837

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12. Joan Snyder, FF Alumn, at Anders Wahlstedt Fine Art, Manhattan, opening April 12

Joan Snyder/Selected Prints 1975-2018

April 12-May 24th
Reception: Thursday, April 12th

Hours: Tues- Fri 11am-6pm, Sat 11am-3pm

This Exhibit, curated by Marilyn Symmes, showcases 11 of Joan Snyder's most important prints spanning from 1975-2018, including her newest, "hot off the press" print, "Chant/Forever" (2016-18).

Anders Wahlstedt Fine Art
548 West 28th Street Suite 636
New York, NY 10001

joansnyder.net
wahlstedtart.com

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13. Terry Braunstein, FF Alumn, at LA Municipal Art Gallery, CA, opening April 29

Dear Friends and Family,

I am pleased to invite you to the opening of this year's COLA grant recipients--I am thrilled to be one of them! I will be showing new work, created for this exhibition. The reception is from 2PM--5PM on Sunday, April 29th at the Municipal Art Gallery in Barnsdall Park.
(Invitation below)

Los Angeles Municipal Art Gallery
4800 Hollywood Boulevard
Los Angeles, CA 90027

Looking forward to seeing you then!

With my best,

Terry

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14. Adriene Jenik, FF Alumn, live online, April 13

Museum of Walking: Adriene Jenik - Blast Radius

ADRIENE JENIK: BLAST RADIUS FRIDAY, APRIL 13, 2018
Friday, April 13, 2018
7:30am - 1:30pm (PST)
ONLINE

Join MoW and artist Adriene Jenik for Blast Radius, a durational performative walk that is the 4th installment of Jenik's ongoing series, *Data Humanization Performances. Engagement with this walk is through MoW's social media outlets from 7:30am-1:30pm (PST).

Facebook livestream: @MuseumOfWalking1
Instagram: @MuseumOfWalking
Twitter: @MoW_US

Artist's statement:
At around 7:30pm on April 13, 2017 the US government dropped the Massive Ordnance Air Blast (MOAB) bomb near the Moman Dara Village in the Asadkhel area in the Achin district of Nagarhar province in eastern Afghanistan. Nicknamed the "Mother of All Bombs" the weapon is the largest non-nuclear weapon in the US arsenal, with a blast radius (the area in which serious effects to people and structures can be felt) of a mile. Though the MOAB was the largest weapon released, it was only one of 4.361 air weapons targeting Afghanistan during 2017 (according to US Air Forces Central Command declassified airpower summaries).

Beginning 7:30am (PST) on April 13, 2018, the anniversary of this event, Jenik will walk an interior ring of the blast radius of this bomb. This walk seeks to memorialize the civilians who have been killed, the villages being terrrorized, the populations in migration, and the lands being scarred as a result of the endless wars being carried out in our names.

Follow performance with a live stream of text and images on Museum of Walking's social media accounts.
Approximate time: 6 hours (Jenik will be walking barefoot)

*The data humanization series emerges from the field of data visualization and big data analytics, in which large and complex datasets are presented through visual effects that render it "readable." In contrast to this trend toward distilling huge datasets, each of my 'data humanization' performances seek to physically "translate" a single datapoint so that it can be more fully comprehended by myself and others. Chosen datapoints are numbers that trouble or baffle me, and that I seek to imprint within my body. I invite my audiences to serve as witnesses and aids.

For event calendar go to www.museumofwalking.org
Copyright (c) 2018 Museum of Walking, All rights reserved.

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15. Coco Fusco, FF Alumn, at e-flux, Manhattan, April 13

e-flux
311 East Broadway
New York, NY 10002
USA

www.e-flux.com

Join us at e-flux for our April programs featuring Timotheus Vermeulen and Robin van den Akker; Cooking Sections, Coco Fusco, and Natasha Ginwala; Rory Rowan; Ala Younis; and Michael Rakowitz, Basim Magdy, Roy Samaha, Oraib Toukan, and Sarah Rifky.

Book launch: Cooking Sections, The Empire Remains Shop, with Cooking Sections,

Coco Fusco, and Natasha Ginwala
Friday, April 13, 7pm

The Empire Remains Shop (Columbia Books on Architecture and the City, 2018) is Cooking Sections' first book following the eponymous ongoing research and installation. The launch at e-flux will feature an introduction by Natsha Ginwala, the lecture-performance "The Next 'Invasive' Is 'Native'" by Cooking Sections, and a discussion between Ginwala, Cooking Sections' Daniel Fernández Pascual and Alon Schwabe, and Coco Fusco about the remains of Empire; followed by The Plant That Could Sink Your Mortgage: Cocktails and Drinks.

"Empire shops" were first developed in London in the 1920s to teach the British to consume foodstuffs from the colonies and overseas territories. Although none of the stores ever opened, they were intended to make previously unfamiliar produce and products-sultanas from Australia, oranges from Palestine, cloves from Zanzibar, and rum from Jamaica-available in the British Isles. The Empire Remains Shop speculates on the possibility and implications of selling the remains of the British Empire in London today.

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16. Imadate's 30th Annual Exhibition of Contemporary Paper Art, Fukui, Japan, April 29-May 13

1300: Imadate's 30th Annual Exhibition of Contemporary Paper Art, Fukui, Japan : April 29th - May 13th

The exhibition of contemporary art of paper in Imadate will celebrate 30 times this year.
It will be held as "1300: Imadate's 30th annual exhibition of contemporary art of paper" that commemorates 1300 years anniversary of Okamoto Shrine and Otaki Shrine to honor the patron goddess of paper, Kawakami Gozen.
About 1800 years have passed since paper was born in this world. It can be said that "paper" is the media rich in creativity are still exciting and having this very long history that Is quite unique.
We consider paper from various points of view, investigate its endless possibilities from all creation and nurse as art. Those new features would make our thought return to origin again.

Date : April 29th - May 13th, 2018
Venues in Awatabe-cho Echizen-shi, Fukui, Japan

FB: https://facebook.com/Imadate.Art.Field/
Instagram: https://www.instagram.com/imadatekamiten/

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17. Erica Van Horn, FF Alumn, at Centre des Livres d'artistes, Saint-Yrieix-la-Perche, France, through July 4

La Collection, 20 ans d'enrichissements Premier episode: Coracle Press

For complete information please visit www.cdla.info

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18. Martine Aballea, Eleanor Antin, Carl Andre, Barbara Bloom, Simone Forti, Guerilla Girls, Pati Hill, Alan Kaprow, Linda Montano, Carolee Schneemann, Athena Tacha, Erica Van Horn, FF Alumns, at Centre des Livres d'artistes, Saint-Yrieix-la-Perche, France, through June 17

Enrichissements 2016-2017 - For complete information please visit www.cdla.info

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19. Stanya Kahn, FF Alumn, at Wexner Center for the Arts, Columbus, OH, April 12

Film/Video

Stand in the Stream
Artist Stanya Kahn in person
(Stanya Kahn, 2011-17)
Thu, Apr 12, 2018 4 PM
"A big, messy, loving exploration of nothing less than life itself."
-LA Times

Hear from LA-based interdisciplinary artist Stanya Kahn, who joins us to discuss her acclaimed recent video Stand in the Stream. A pulsating mix of live-action footage and live-streamed Internet video, the project is a contemporary meditation on life and death that urges us to bear witness to the present. (60 mins., HD video)

Kahn will introduce the project and participate in a Q&A about her practice with Wex Curatorial Assistant Lucy Zimmerman following the screening. Stand in the Stream also screens in The Box this April.

https://wexarts.org/film-video/stand-stream

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20. Babs Reingold, FF Alumn, at David&Schweitzer Contemporary, Brooklyn, Apr. 13-29

Painting Into Sculpture
at
David & Schweitzer Contemporary
Opening Reception: April 13th 6-9pm
April 13 - 29, 2018

I'm pleased to exhibit "Luna Window: Ladder No 16" with David & Schweitzer Contemporary

"Painting Into Sculpture" is a group exhibition in conjunction with "Sculpture 56", a six-week long sculpture event held at eleven participating galleries at 56 Bogart Street in Bushwick Brooklyn

Painting Into Sculpture
at David & Schweitzer Contemporary
April 13 - April 29, 2018
56 Bogart St. Brooklyn NY 11206
For more information contact Michael David at michael@davidandschweitzer.com

Babs Reingold
babs.rr@gmail.com

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21. Galinsky, FF Alumn, at East Village Playhouse, extended thru June

Galinsky's Solo Show "THE BENCH" extends for a 3rd time, at East Village Playhouse, offering people on this Franklin Furnace email list 1/2 price tickets!

Franklin Furnace Alumn Galinsky's The Bench, A Homeless Love Story begins extension Friday May 4th 7pm and runs through June
Written and performed by Robert Galinsky, directed by Jay O. Sanders
Original Graphic Images by Daphne Arthur
The East Village Playhouse is located at 340 East 6th Street
USE DISCOUNT CODE: bench20 for half price tickets; can be purchased by visiting TheBenchPlay.com or calling Ovation Tix/ 866-811-4111
For more info on The Bench visit TheBenchPlay.com and for Robert Galinsky visit www.galinskyplace.com
Based on true stories, The Bench, set in urban decay and rubble, explores the emotional heartbreak of five homeless characters and the catastrophic hysteria surrounding AIDS in the 1980's.

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22. Paul Zelevansky, FF Alumn, now online

Here is an interview with me from POINT.LINE-PROJECTS,
a Pittsburgh journal about art and architecture. Granted it is about me so I of course enjoy hearing myself talk. But I think it's very well done, and as with the best interviews clarifies some things about how one chooses to work and live.
I hope you find it of interest.

WHAT IS THE POINT OF THIS?

https://www.pointlineprojects.com/plp/paulzelevansky

PZ, 4/2018

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23. LuLu LoLo, Harley Spiller, FF Alumns, at New York City Fire Museum, Manhattan, April 14

Collectors’ Night 2018 New York City Fire Museum, 278 Spring St., New York, NY 10013
Online admission: $10 general/$7 Reliquary and Fire Museum members
Door admission: $13 general/$10 Reliquary and Fire Museum members
Buy tickets here: https://www.artful.ly/store/events/14768

The City Reliquary will be hosting its 13th annual Collectors’ Night on Saturday, April 14th, 2018,6pm-8pm, at the New York City Fire Museum. Join us in celebrating curious collections, displays, and ephemera!

Each year, collectors and archivists — whose acquisitions run the gamut, from loose groupings to the hyper-specific–showcase their treasures to the public and participate in rapid-fire show-n-tells. This is an opportunity to get up close with collective labors of love.

Special guest speakers will focus on municipal collections of New York City and feature: Brian Kelley’s NYCTA project, which began as a simple collection of MetroCards taken from the ground and has since expanded to encompass Transit Authority materials, patches, pamphlets, pins, tickets, tokens, limited-edition MetroCards, and more.

Nelson Molina, a retired DSNY worker, will present on his Treasures in the Trash collection.

And a special presentation from our host, the New York Fire Museum, detailing the history and cultural heritage of the fire service of New York.

This year’s collections include:
• Coca-Cola ephemera (David Argov)
• Earthrise Museum (Ben Sisto)
• Museum of Interesting Things (Denny Daniel)
• Elongated coins (Suzie Sims-Fletcher)
• Found ID cards and corroding bottle caps (Harley Spiller)
• Archival 16mm cartoons (Tommy Stathes)
• Antique china, glass, bottles, and seaglass (Emily Kawasaki)
• Chicago gang business cards from the 1960s-1990s (Brandon Johnson)
• Collection of frog-related items (Dianna Maeurer)
• Photo postcards from World War I (Chris Engel)
• Shea Stadium ephemera (Jason Antos)
• Labels and sign letters/numbers (Gail Mitchell)
• The Wallet of Ronda J Smith – a collection of personal cards / credit cards / driver’s licenses (Ronda Smith)
• Items created by a number of companies and entities that share that collector’s namesake (Glen Eden Einbinder)
• Henry & Jay’s Collection Agency (Jason and Henry McLean)
• “The Operative Owl”: a collection of primarily antique owls that function (Lesley Doyel)
• Eiffel Tower collection (LuLu LoLo)
• Steven Gembara (Retired NYC street furniture)
• Olive Scanga (Polar bear collection)
• Gwen Rosenstien (Spider Gwen collection)
• Terry Haden (Rescue Bot collection)
• Rosie Herman (Geological collection)
• Opal Herman (Sea life)
• Kevin McGeary
• Jeffrey Allen Price (Potato Tomes – Books with “Potato” in the Title from all around the world)

Pizza and beer generously supplied by Two Boots Pizza and Brooklyn Brewery.

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Goings On is compiled weekly by Harley Spiller