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Contents for May 29, 2018

1. Danielle Abrams, FF Alumn, receives 2018 St. Botolph Club Foundation Award Distinguished Artist Award in Performance

Danielle Abrams receives the 2018 St. Botolph Club Foundation Award Distinguished Artist Award in Performance. The Foundation in Boston, MA awards $7,500 each May to an artist who has demonstrated outstanding talent and an exceptional diversity of accomplishment. Recipients of the Foundation's Distinguished Artist Award also are recognized for their contributions as teachers, mentors, or advocates. Many New England artists who have received this award have later achieved national and international distinction.



2. Barbara Hammer, FF Alumn, at ICP, Manhattan, May 30

May 30, 2018 (6:30PM - 8PM EDT)

Barbara Hammer and ICP Assistant Curator Marina Chao discuss the intersections of Hammer's work and the key precepts of Multiply, Identify, Her, including multiple and hybrid selves, feminism, and identity. For nearly fifty years, Hammer's work in film, photography, and interdisciplinary media has broken ground, taken experimental form, and driven new perspectives on queer and feminist art.

This is a free event, but please register in advance. ICP Members have access to preferred seating in our reserved members' section.

Our ICP Museum-public program combination ticket grants $10 entry starting at 4:30 PM to those attending the program. Tickets are only available online when you register for the program.

Tickets: https://www.icp.org/events/barbara-hammer-on-multiply-identify-her

Barbara Hammer (b. 1939) is a visual artist and experimental filmmaker whose work has pioneered feminist and lesbian cinema for five decades. She has had film retrospectives at the Jeu de Palme (Paris), Museum of Modern Art (New York), Tate Modern (London), National Gallery of Art (Washington, DC), Kunsthall (Oslo, Norway), and Toronto International Film Festival. Recent solo exhibitions include her retrospective Evidentiary Bodiesat the Leslie-Lohman Museum of Gay and Lesbian Art, and Truant: Photographs, 1970-1979 at Company Gallery, both New York, 2017. Hammer's work was included in the 1985, 1989, and 1993 Whitney Biennials and is included in the permanent collections of the Australian Center for the Moving Image, the Museum of Modern Art (New York), the Centre Georges Pompidou, and elsewhere. She is the author of Hammer! Making Movies Out of Sex and Life (Feminist Press 2009). Recent monographs include Truant: Photographs, 1970-1979, published by Capricious Publishing, New York, 2017, and Barbara Hammer: Evidentiary Bodies, published on the occasion of her exhibition with Leslie-Lohman Museum of Gay and Lesbian Art, New York, 2018. Hammer holds a masters in literature (1963) and a masters in film (1975) from San Francisco State University in California. She lives and works in New York, New York.

Marina Chao is assistant curator at ICP. Prior to joining the Exhibitions department in 2012, Chao was curatorial assistant in the department of Photography at the Museum of Modern Art (New York).



3. Marilyn R. Rosenberg, FF Alumn, now online

AngelHousePress, has Marilyn R. Rosenberg's visual poem "STOP OVER"
online, click APRIL 23, at http://nationalpoetrymonth.ca and it will be there until February 28, 2019.


FADE TO BLACK by Marilyn R. Rosenberg published by Otolith Australia ON LINE AND IN PRINT in full color & in the 9" x 7"PRINT FORMAT. The print parts of Otoliths issue forty-eight are now available from the Otoliths Storefront.



4. Sonya Rapoport, FF Alumn, at Kala Art Institute, Berkeley, CA, June 1-2

The Sonya Rapoport Legacy Trust invites you to the premiere of Rapoport Remembered, a live, immersive multimedia performance composed and performed by violin/vocal duo Hae Voces - Kristina Dutton and Majel Connery.

Rapoport Remembered will take place Friday, June 1st and Saturday, June 2nd, 2018 at Kala Art Institute: 2990 San Pablo Ave., Berkeley.

FRIDAY 6/1 performance is an Open Dress Rehearsal.
Tickets: General: $15 with Promotional Code HAEVOCES, Student: $5 at door.
SATURDAY 6/2 performance is the Premiere.
Tickets: General: $25, Student: $15 at door. Purchase online at https://www.eventbrite.com/e/rapoport-remembered-a-musical-tribute-to-berkeley-artist-sonya-rapoport-tickets-44307504940
Doors open at 7:30pm. The performance is 8 - 9pm.

A selection of Rapoport's drawings will be on view. After the performance SLRT Director Farley Gwazda will speak about the artist's work and discuss the collaborative process with Hae Voces.



5. Hector Canonge, Verónica Peña, FF Alumns, in Hyperallergic.com now online

Please visit this link to the illustrated article:


thank you.



6. Halona Hilbertz, FF Alumn, at Cobra Club, Brooklyn, May 31

We are playing with our friends Galaxyworld at Cobra Club in Bushwick, next Thursday the 31st!
Come on over!!
It's been too long!!!

P.S. We'll be playing our new song "News" for the first time. As you dance, you can watch with bated breath as I find out whether I remember all the words. Wait, dancing with bated breath doesn't seem right. Don't bate that breath. But come!

Thursday May 31
8 pm Ken South Rock
9 pm Galaxyworld
10 pm Fetzig

Cobra Club
6 Wyckoff Ave
Bushwick / Brooklyn
21+ / $7



7. Nicole Eisenman, Jenny Holzer, FF Alumns, named Members of the American Academy of Arts and Letters

Please visit this link:


Thank you.



8. Mierle Laderman Ukeles, FF Alumn, at The 8th Floor, Manhattan, opening June 21

Sedimentations: Assemblage as Social Repair

June 21-December 8, 2018
Opening: June 21, 6-8pm, RSVP required to media@sdrubin.org

The Shelley & Donald Rubin Foundation
The 8th Floor
17 West 17th Street
10011 New York, NY


The Shelley & Donald Rubin Foundation is pleased to announce Sedimentations: Assemblage as Social Repair, an exhibition featuring artists who employ strategies of reuse in their practice, incorporating found and repurposed materials that reference a multitude of timescales and politics. Embedded with narratives of cultural heritage and preservation, technological obsolescence, spiritual engagement, sustainable ecology, the impacts of gun culture, and, more generally, social responsibility, artworks in the exhibition are made from the artifacts of human existence to reinterpret the cycles of creation, consumption, and waste.

The title alludes to the late artist Robert Smithson's 1968 essay "A Sedimentation of the Mind: Earth Projects," in which he draws a connection between flows of thought and the shifting earth, making a case against artistic refinement in favor of the ever-changing qualities of a material's natural state. While Smithson was proposing this approach for the production of earth works, his proposition is echoed in the material reuse that connects many of the artworks in the show.

The exhibition, curated by Artistic Director Sara Reisman, proposes that disused objects, waste material, and quotidian gestures can accrue new meaning and value through the artistic process of making. With artworks by El Anatsui, Maren Hassinger, Elana Herzog, Samuel Levi Jones, Mary Mattingly, Lina Puerta, Michael Rakowitz, Jean Shin, Shinique Smith, Mierle Laderman Ukeles, Roberto Visani, and Michael Kelly Williams, the exhibition collectively demonstrates symbolic and literal reversals of the decay associated with ecological loss and its entanglement with geopolitics, culture, and the safety of our planet.

Sedimentations also draws on the work of a Rubin Foundation grantee, Materials for the Arts' (MFTA) Artist-in-Residence program, where three artists in the exhibition, Lina Puerta, Jean Shin, and Michael Kelly Williams, had studio space and unlimited access to materials at MFTA's redistribution center in Long Island City, where over one million pounds of materials are diverted from landfills each year.

Roberto Visani's recent series of iron casts of decommissioned guns (loaned by the Paterson, New Jersey Police Department) register as fossils of weapons that are at the crux of the gun control controversy in this country. While Mary Mattingly's ecological art practice has often been situated in community-based and participatory public art projects, her recent photographs capture landscapes being mined for the raw materials used in the production of guns.

In their performative practices, both Mierle Laderman Ukeles and Maren Hassinger implicate the viewers' relationship to public space. In her seminal project Touch Sanitation (1977-80/2017), Ukeles shadowed New York City Sanitation workers, performing the gestures of their physical work alongside them as a way of understanding the scope of their work. Hassinger's Pink Trash (1982) involved collecting trash from several New York City parks, painting the objects pink, putting them back where she found them. Both Ukeles' and Hassinger's projects provoke questions about maintenance and sustainability: where does our waste go? Who is responsible for its removal?

Elana Herzog and Michael Rakowitz reflect on artifacts of cultural import. Rakowitz's series The invisible enemy should not exist (2007-ongoing) is a symbolic reconstruction of artifacts looted from the National Museum of Baghdad following the U.S. invasion of Iraq in 2003. Each object represents a lost relic reconstructed from Middle Eastern food packaging. Since the late 1990s, Herzog has been making site-specific and architecturally integrated installations that raise questions about our attitudes toward decay. Herzog's Untitled #4 (2001) reveals a faint, partial view of a U.S. flag, which can be read both as emerging and disappearing from view. As Herzog and Rakowitz point to the ideological implications of eroding cultural symbols, many of the artists in the exhibition have committed to assembling meaning from the rubble of our civilization. While long-held habits of waste and excess cannot be reversed by art alone, artistic reuse can help to rematerialize the seemingly obsolete.

About The Shelley & Donald Rubin Foundation
The Foundation believes in art as a cornerstone of cohesive, resilient communities and greater participation in civic life. In its mission to make art available to the broader public, in particular to underserved communities, the Foundation provides direct support to, and facilitates partnerships between, cultural organizations and advocates of social justice across the public and private sectors. Through grantmaking, the Foundation supports cross-disciplinary work connecting art with social justice via experimental collaborations, as well as extending cultural resources to organizations and areas of New York City in need. sdrubin.org

About The 8th Floor
The 8th Floor is an exhibition and events space established in 2010 by Shelley and Donald Rubin, dedicated to promoting cultural and philanthropic initiatives, and to expanding artistic and cultural accessibility in New York City. The 8th Floor is located at 17 West 17th Street and is free and open to the public. Schools groups are encouraged. Gallery hours are Tuesday through Saturday, 11am to 6pm. the8thfloor.org

Join the conversation with the Shelley & Donald Rubin Foundation with the hashtags #RubinFoundation,#The8thFloor,#Sedimentations, #AssemblageAsSocialRepair, and #ArtAndSocialJustice.

For further information, members of the media may contact:
Blue Medium Inc.: Gary Grimes
, T 1 212 675 1800, gary@bluemedium.com
The Shelley & Donald Rubin Foundation: George Bolster
, T 1 646 738 3971, gbolster@sdrubin.org



9. Seung-Min Lee, Cindy Sherman, FF Alumns, at The Kitchen, Manhattan, opening June 27

The exhibition portion of On Whiteness aims to take advantage of art's powerful ability to reframe dominant ways of seeing, especially with regard to philosopher Sara Ahmed's postulation of whiteness as a "habit," whose power to form and sustain specific social behaviors and institutions resides in its being taken entirely for granted. As Ahmed proposes: "Whiteness is what bodies do, where the body takes shape of the action.... spaces are oriented 'around' whiteness, insofar as whiteness is not seen." By disorienting the particularly habituated space of the white cube gallery, the work in this exhibition questions, marks, and checks whiteness, challenging its dominance as it operates through default positions in cultural behavior.
Artists in the exhibition include Josh Begley, Paul Chan, Mel Chin, Ja'Tovia Gary, Ken Gonzales-Day, Titus Kaphar, Baseera Khan, Seung-Min Lee, Glenn Ligon, Mores McWreath, Sandeep Mukherjee, Native Art Department International, Toyin Ojih Odutola, Tim Rollins and K.O.S., Cindy Sherman, Rodrigo Valenzuela, and Anicka Yi.
This performance is presented as part of The Racial Imaginary Institute: On Whiteness. For more information about the exhibition and other programs please see our website.
June 27-August 3
Opening reception: June 27, 6-8pm
Gallery hours: Monday-Friday, 11-6pm
The Racial Imaginary Institute: On Whiteness is made possible with support from the Shelley & Donald Rubin Foundation, Poetry Foundation, Valerie Dillon & Daniel R Lewis, John D. and Catherine T. MacArthur Foundation, and Leslie Fritz; annual grants from Howard Gilman Foundation, Lambent Foundation Fund of Tides Foundation, and Andy Warhol Foundation for the Visual Arts; and in part by public funds from New York City Department of Cultural Affairs in partnership with the City Council and New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

512 West 19th Street
New York, NY 10011
(212) 255-5793 ext. 11
Tuesday-Saturday, 2-6 PM
and 1 hour before each show.



10. Nina Sobell, FF Alumn, at Wonders of Nature, Brooklyn, May 30

131 Grand St. Brooklyn, New York 11249

Sarah Bernstein - violin/voice/text, Satoshi Takeishi - drums
Record Release Concert
Plus performances by
Laura Ortman and Nina Sobell
Emilie Lesbros
Violinist/vocalist Sarah Bernstein is joined by percussionist Satoshi Takeishi for a set of original music and spoken text. Unearthish showcases Bernstein's distinctive poetry in compositions that deftly integrate song, spoken word, groove, post-tonality, improvisation, and electronic processing. The duo celebrates the release of their second album Crazy Lights Shining.



11. Edward Gomez, FF Alumn, now online at Hyperallergic.com

New York
Saturday, May 26, 2018

Greetings, art lovers and media colleagues:

My article about the Metropolitan Museum of Art's just-opened exhibition of selections from its large gift of works from the Atlanta-based Souls Grown Deep Foundation has been published in HYPERALLERGIC.

In late 2014, the Met received 57 paintings, drawings, quilts and mixed-media creations made by self-taught artists of African descent, all of whom had lived and worked in the Deep South of the United States. Named after a mixed-media sculpture by Thornton Dial, the museum's exhibition, History Refused to Die: Highlights from the Souls Grown Deep Foundation Gift (on view through September 23, 2018) features thirty works from the 2014 donation. The show features works by Dial, Purvis Young, Joe Minter, quilt-makers from the area around Gee's Bend, Alabama, and others.

With the integration into its collection of this large body of diverse works made by visionary American autodidacts, the Met is revising the way in which it recounts the history of art's development in the 20th and early 21st centuries.

Meanwhile, concurrent with the museum's exhibition, Shrine, a gallery in downtown Manhattan, will present Annex (May 30 through July 29), a selection of works by several artists from the Souls Grown Deep donation who are not featured in the Met's exhibition, along with others not included in the gift; among them are Joe Light, Mose Tolliver, Hawkins Bolden, Bessie Harvey, and Mary T. Smith.

You can find my article about both of these thematically related exhibitions here:


I hope you'll enjoy reading it.

I send you all best wishes!





12. Shaun Leonardo, FF Alumn, at the Solomon R. Guggenheim Museum, Manhattan, June 21

June 21 | 7pm
Solomon R. Guggenheim Museum | 1071 5th Ave | NYC
In Primitive Games, Shaun Leonardo asks, "What might happen when four seemingly divided groups are invited to debate one another without using words?" Loosely based on the Renaissance-era Italian sport calcio storico, this live performance culminates a series of movement-based workshops led by Leonardo and involving four communities, each with a unique relationship to a single social issue. For an hour, the museum's rotunda is transformed into an arena for a sport-like competition generated by and bringing together workshop participants. By witnessing the dynamics of these groups against the backdrop of an increasingly divisive national political climate, performers and audience members alike are given an opportunity to reconsider their own place within the debates pervading society today.

On Friday, June 22 a symposium gathers practitioners of socially engaged art to consider how museums and other organizations can play a role in supporting and responding to this field. One day after the premiere of Primitive Games, Leonardo leads a discussion with select performance participants who reflect on their experience working on his project. Elizabeth M. Grady, independent curator and former Director of Programs, A Blade of Grass, moderates a panel with artists Brett Cook, Pepón Osorio, and Jackie Sumell about institutional partnerships. Lisa Dent, independent curator and producer, delivers the keynote address, Restructuring. This symposium also serves as the launch of a new Guggenheim publication commemorating the inaugural projects organized through the Guggenheim Social Practice initiative.

Performance tickets are available at $7, $5 members, $5 students. A special offer for a ticket to the symposium and to Primitive Games, on Thursday, June 21, is also available. $15, $10 members, $10 students.

Shaun Leonardo: Primitive Games is commissioned by the Solomon R. Guggenheim Museum as part of Guggenheim Social Practice, an initiative supported by the Kenan Charitable Trust.



13. Alicia Grullón, FF Alumn, at Center for Book Arts, Manhattan, June 1

2017 Artists-in-Residence
Artist Talk

Join Artists in Residence, Golnar Adili, David Rios Ferreira, Alicia Grullón, and Richard Tran, as they discuss their work and the year they spent in residence, here at the Center.

These New York-based emerging artists are offered space, time and support to explore the production and exhibition of artist's books and related work in two-to-four month residencies. The purpose of this program is to promote experimentation in making book art. The Center especially encourages artists from all disciplinary backgrounds and from culturally diverse backgrounds.

Friday, June 1, 6:30 pm

For complete information please visit http://centerforbookarts.org/event/workspace-artist-in-residence-artist-talk/



14. Nicole Eisenman, Pablo Helguera, Adam Pendleton, Andy Warhol, FF Alumns, at RISD Museum, Providence, Rhode Island, convening June 20

RISD Museum

Raid the Icebox Now
June 20, 2018, 5pm

RISD Museum
224 Benefit Street
Providence, Rhode Island 02903
United States
Hours: Tuesday-Sunday 10am-5pm

T +1 401 454 6500


The RISD Museum is proud to launch its multi-year Raid the Icebox Now exhibition project with a convening of participating artists and curators on June 20, 2018.
Raid the Icebox Now will be presented throughout the RISD Museum beginning Fall 2019 and remaining on view until Summer 2020. The project celebrates the 50th anniversary of the RISD Museum's exhibition of Raid the Icebox 1 with Andy Warhol, which has arguably become the template for inventive impulse in reimagining museum collections through artist-curated exhibition. Raid the Icebox Now will engage the contemporary artists and designers Pablo Bronstein, Nicole Eisenman, Pablo Helguera, Beth Katleman, Simone Leigh, Opening Ceremony, Adam Pendleton, Sebastian Ruth, Paul Scott, and Triple Canopy to create new bodies of work or unique curatorial projects using the RISD Museum as a site for critical creative production, and presentation. The June 20 convening will feature participating artists as well as guest critics and artists such as Ingrid Schaffner (curator of the Carnegie International 2018, Carnegie Museum of Art), and artist Fred Wilson-along with the RISD Museum's John W. Smith (director) and Dominic Molon (Richard Brown Baker Curator of Contemporary Art)-to critically assess the legacy of Raid the Icebox I with Andy Warhol and how it has transformed artistic and curatorial practice, critically exploring relationships between museums, artists, collections, and their publics.

Raid the Icebox Now extends the legacy of Warhol's radically subversive original project, which developed from then-RISD Museum director Daniel Robbins's frustration with the number of works languishing in storage. Acting on a conversation with John and Dominique de Menil, Robbins extended an invitation to an artist to make a show from the museum's collection as a departure from traditional approaches to selection and display. Warhol defied expectations in Raid the Icebox I by exhibiting entire sections of items as they appeared in storage, with little or no connoisseurial regard for their condition, authenticity, or art historical status. The exhibition catalogue followed suit with essays, an inventory of the objects, and Warhol's impromptu Polaroids of museum storage. The dynamic and surprising nature of his installation continues to have a profound impact on artists, curators, and cultural institutions to the present day.

Employing the galleries and digital platforms as well as spaces beyond the museum walls, the artists featured in Raid the Icebox Now will question dominant narratives and highlight the strengths and idiosyncrasies of the RISD Museum's collection as they develop a series of projects and exhibitions that will be realized from Fall 2019 through Summer 2020. The project reflects the RISD Museum's central role as a resource for artists, designers, and other makers as a place for research, discourse, and exchange. An updated reprint of the original catalog, long out of print, is also being planned.

RISD Museum is supported by a grant from the Rhode Island State Council on the Arts, through an appropriation by the Rhode Island General Assembly and a grant from the National Endowment for the Arts, and with the generous partnership of the Rhode Island School of Design, its Board of Trustees, and Museum Governors. Additional promotion for Convening: Raid the Icebox Now provided by Alliance of Artists Communities.



15. Rae C. Wright, FF Alumn, at Mabou Mines Theater, at 122CC, Manhattan, June 7-16

Rae C Wright joins Black-Eyed Susan, G. Lucas Crane, Jim Himelsbach*, Paul Zimet* in Mallory Catlett's "This Was The End" at Mabou Mines Theater, the 122 CC (the new name for PS 122) @ 150 First Ave., Second Fl. - in Manhattan's 10009

Sound & Video Manipulation is by G. Lucas Crane and Video by Keith Skretch

- the 7 performances are June 7 - June 16: Thurs - Sat 8:00 pm & Sun 3pm matinee
"Using a quartet of older actors to imply a performance that has been going on, somewhere, for decades . . . (TimeOutNY)" ...THIS WAS THE END is a live remix of voice and image, Chekhov's Uncle Vanya played back by a cassette tape DJ and mapped onto a wall from the Mabou Mines now demolished studio. Architecture and theatrical legacy conspire to ask: What do we do with our past? What can we make of it? Past and present converge as the wall comes home to Mabou Mines' new theater.
The Run time is 65 mins - and first time out at the Chocolate Factory in '14 it received a Special Citation Obie Award, a Bessie for Visual Design, and a Henry Hewes Award for Notable Effects.
For tickets by phone call: 212-352-0255 or 1-866-811-4111 or contact Rae directly at 917-453-2816




16. Laura Parnes, FF Alumn, at The Kitchen, Manhattan, June 11

Hi All,

I'm very excited to invite you to the New York premiere of Tour Without End. The screening will be accompanied by live music, including BB TAY VEE, Macy Rodman, and JD Samson with Michael O'Neill, Roddy Bottum, Caitlin Frame and Lee Free.
Here is the link.


We are planning on having a party after. Details on that to come.

All the Best,




Goings On is compiled weekly by Harley Spiller