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ABOUT GOINGS ON: How to subscribe and submit listings

Contents for June 25, 2018

1. Ayana Evans, Alicia Grullón, Shaun Leonardo, Martha Wilson, FF Alumns, at the Meatpacking District, Manhattan, June 29

City as Site: Public Performance + Social interventions program presents:

A day of informal performative works in progress at the Meatpacking district

Friday, June 29th 10 AM -5PM.

In a roving presentation mode, the group will move between sites and performances.

Meeting point: Blue Bottle Coffee, 450 W 15th St, New York at 9:45.
If you want to join us during the day please text: 646-262-2460 for the current location
Presenting works by Caroline Austin, Jerome Cowell, Domenica Garcia, Jordan Guy-Mozenter, Lucy Hawthorne, Adam Lau, Irene Mohedano, Naomi Moser, Quek Jia Qi, Shane Smith, Sarah van den Berg, Kayva Yang.

Seminar led by Ofri Cnaani, Ed Woodham, and Kendal Henry.

Guest faculty this year: Alicia Grullón, Todd Shalom, Ayana Evans, Andrianna Campbell, Luciana Achugar, Sari Carel, Rejin Leys, Shaun Leonardo, Marlène Ramírez-Cancio, and Martha Wilson.

1. Shaun Leonardo, FF Alumn, in The New York Times, June 22

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

https://www.nytimes.com/2018/06/22/arts/design/shaun-leonardo-guggenheim-gun-control.html

The New York Times
Can an Artist Shift the Gun Debate?
At the Guggenheim, Shaun Leonardo encouraged those on all sides of the gun control issue to find common ground with their opponents, by connecting physically.
by Meredith Mendelsohn
June 22, 2018

As 25 participants filed into the Guggenheim Museum's rotunda Thursday night to enact the artist Shaun Leonardo's newest work, called "Primitive Games," it was anyone's guess whether their gleaming white uniforms would remain as pristine by the hour's end.
Mr. Leonardo, who has a reputation for sinking his teeth into contentious social issues - the numbers of black and Latino men in prison, racial inequality, police use of force - had invited the performers to engage in what the museum had mysteriously presented only as a "nonverbal debate" on an urgent social topic.

That quickly revealed itself to be gun violence, and given the verbal blood sport the issue triggers, a debate could have devolved into a full-fledged donnybrook. What's more, Mr. Leonardo, a former wrestler and college football player (who still has the physique to prove it) announced in advance that the performance would be inspired by one of the roughest sporting traditions to endure in the 21st century, the Italian Renaissance-era game of calcio storico. (Imagine a mix of rugby, soccer, martial arts, wrestling and fist-fighting rolled into one nearly lawless clash.)

But using violence to address violence is not what Mr. Leonardo (or the Guggenheim) had in mind.

With the dialogue on guns stalled, Mr. Leonardo suggests that the underlying problem might be words: If people can avoid defensive language and find an alternative way of conversing about gun control, maybe we can actually start communicating, he said. "What we are witnessing as a failure in communication has everything to do with the ways that a person or a side develops an argument before communication is even initiated, based simply on who a person perceives their opponent to be," he said in an interview recently in his studio in the Dumbo neighborhood of Brooklyn.

Last fall, the Guggenheim Museum commissioned a work from the artist as part of its social practice initiative, a program to bring more socially engaged art to the institution. Mr. Leonardo imagined a nonverbal debate in which people on all sides of the gun control issue tried to open a dialogue.
"The lofty goal is that this performance might move to a moment of interconnectivity," he said. "If you can exist with someone you once perceived as different," he added, "then you might be able to listen."

He invited four potentially adversarial groups to help bring his vision to life: recreational users of firearms, citizens impacted by street violence, police officers and military veterans. He hid the subject of the debate from participants and the public, and kept the identities of the groups under wraps.

Before a rotunda of viewers assembled for his one-night event, the performers - an ethnically diverse mix of men and women around the ages of 18 to 70 - bore no sign of their group affiliation. The terrazzo floor of the Guggenheim had been covered with white plastic to indicate a fighting ring, and in the spirit of calcio storico, four giant heraldic banners were unfurled, emblazoned with a military insignia (for the veterans), a target (for the recreational gun users), a bullet (for the citizens affected by street violence) and a badge (for police officers).

To create the "teams" that would then "debate," the performers were told to respond to a series of 13 questions. Do you have power? Do you love your home? Do you fear for the safety of your community? Do you own a firearm? Have you ever lost a loved one to gun violence?

Scenes from Shaun Leonardo's "Primitive Games"CreditVideo by Guggenheim Museum
Nearly everyone said they had held a bullet. Regardless of their political leanings, the performers may have answered a question the same way. Still, suspicions developed.
Mr. Leonardo arranged the teams in two lines. When a master of ceremony shouted "Debate!" they approached each other in silent determination - pushing, pulling, trying to connect. Their activities resembled everything from improvisational modern dance and method acting exercises, to group-therapy, wrestling and tai-chi.

While whatever real-world impact he is making is hard to measure, in art-world terms, Mr. Leonardo has become a growing force in the field of social practice. He is the co-founder of Assembly, a community-based arts program run by the nonprofit organization Recess, which is offering an alternative to incarceration. The groups work with the Center for Court Innovation's Brooklyn Justice Initiatives, which decides which young adults would fit the program. Assembly recently won a $150,000 grant from the Art for Justice Fund, an initiative launched in June 2017 by Agnes Gund, president emerita of the Museum of Modern Art, to reform the criminal justice system. (Ms. Gund sold a 1962 painting by Roy Lichtenstein for $165 million last year to provide the fund's nest egg.)
Through Assembly, some young adults and juveniles charged with nonviolent crimes can avoid incarceration and a criminal record by completing a course of workshops that include movement and storytelling techniques for reimagining themselves outside the narratives of powerlessness that often follow troubled individuals throughout their lives.

Mr. Leonardo was born in Queens to a Dominican mother and Guatemalan father - he identifies as Afro-Latino and now lives in Brooklyn with his wife, the artist McKendree Key, and their 2-year-old and 10-year-old daughters. He studied visual art at Bowdoin College in Maine and came to performance somewhat by accident. During a residency at the Skowhegan School of Painting and Sculpture he put on a Mexican wrestling mask and began fighting an imaginary opponent. An enthusiastic crowd gathered, and the concept took off. Starting in 2004, he staged dozens of fiercely physical performances as his Mexican wrestler alter ego, El Conquistador, or El C., who battled the fictional "Invisible Man." This foe is a reference to Ralph Ellison's groundbreaking 1952 novel, the story of the demons a black man faces growing up in midcentury America. "That book has been a through line in my practice in ways that I'm not even entirely conscious of," he said.

The goal of the wrestling work, said the artist, was to loosen definitions of manhood. Practically speaking, that work taught him about body language.

After the death of Trayvon Martin, in 2012, his work took a turn toward the political. He immersed himself in drawing, still a significant part of his art. (Two new works, one based on the media imagery of Rodney King and the other on the Central Park Five, are headed to the group show "Walls Turned Sideways: Artists Confront the Justice System," at the Contemporary Art Museum Houston on Aug. 25.)

After Eric Garner, an unarmed black man, died in 2014, and a grand jurydecided not to indict the New York City police officer who used a chokehold, "Something shifted," Mr. Leonardo said. He moved away from purely physical performances and started guiding participants instead as more of an instructor. One, called "I Can't Breathe" (2016), was a participatory performance that he disguised as a self-defense course.

In "Primitive Games," his roles included instructor, coach referee and role model. Despite some improvisational freedom, the artist's hand was evident in every step of the performance. The four groups of participants attended a series of workshops with Mr. Leonardo, during which he taught them ways to find another person's body language and gestures "relatable" rather than offensive. "The immediate goal," he said, "is to get these very divided groups more attuned to one another in the way they react and respond to conflict."

If all that sounds more like therapy, Nat Trotman, the Guggenheim's curator of media and performance, explains what makes it art. "There is always an element of Shaun's vision as a guide," he said before the event. "It's about bringing people together to deal with political issues. It's activist in trying to get people to deal with reality. And that was really compelling to us." (Mr. Trotman organized the project in collaboration with Christina Yang, the museum's director of education and public programs, and Anna Harsanyi, Guggenheim social practice project manager.)

At the Guggenheim, between the opponents, there were moments of tenderness, flirtation, aggression, sadness, camaraderie, and humor. Somebody would fall; someone would help them up, as their bodies found common ground.

Reached Friday by email, a member of the veterans' group who wanted to be identified only as James, called the evening's performance "an intense emotional roller coaster ride encountering fear, strength, vulnerability, machismo, empathy, joy and sorrow." He added that it was a test of courage "against and with a very diverse group of other humans with beliefs and viewpoints much different than mine."

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3. Evelyn Eller, FF Alumn, receives Albert Nelson Marquis Lifetime Achievement Award

Evelyn Eller Presented with the Albert Nelson Marquis Lifetime Achievement Award by Marquis Who's Who.

Ms. Eller has been endorsed by Marquis Who's Who as a leader in the art industry. Marquis Who's Who, the world's premier publisher of biographical profiles, is proud to present Evelyn Eller with the Albert Nelson Marquis Lifetime Achievement Award. An accomplished listee, Ms. Eller celebrates many years' experience in her professional network, and has been noted for achievements, leadership qualities, and the credentials and successes she has accrued in her field. As in all Marquis Who's Who biographical volumes, individuals profiled are selected on the basis of current reference value. Factors such as position, noteworthy accomplishments, visibility, and prominence in a field are all taken into account during the selection process.

Ms. Eller is a well known artist who has been exhibited extensively both nationally and internationally and has been represented in multiple public and corporate collections across the United States and abroad. A native of New York, she first studied at the Arts Students League in New York City between 1951 and 1954 on a scholarship before traveling to Rome, Italy, to study at the Academy Belle Arte on a Fulbright fellowship. Upon her return, she became a resident at Yaddo in Saratoga Springs, NY, in 1957, and years later, studied at the School of Visual Arts in New York City. Ms. Eller's career has also included 10 years of teaching at the Alliance Queens Artists in New York between 1989 and 1999, and one year as an administrative assistant at the Museum of Modern Art in New York City early in her career.

Recognized for her artwork in various mediums, oil and acrylic paintings and printmaking, Ms. Eller primarily focuses her efforts on paper college and artists books, which she has been mastering since 1982. A natural outcome of her work in paper collage, she works on books and collages simultaneously by using traditional structures as well as sculptural and innovative forms in her books. Handmade, these books consist of oriental and painted papers, book cloth, string, boards and glue materials.

Still working and exhibiting art at the age of 85, Ms. Eller has exhibited at such locations as The Smithsonian, the Corcoran Gallery of Art in Washington, DC, and the Whitney, Queens and Brooklyn Museums in New York City, as well as various locations across Mexico, Hungary, Switzerland, Italy, India and Germany, among others. Her public and corporate artwork can be found in the collections of the Watson Library, Metropolitan Museum of Art, NY, the New York Historical Society, the Museum of the City of New York, for Citicorp and Exxon, and at many universities across the United States and Canada. Furthermore, her one-woman shows have included dozens of locations across New York and other U.S. states, France and Hungary, at places like the Brooklyn Public Library and the Institute of International Education in New York and Galerie 1816 in Bretenoux, France.

Ms. Eller is a member of the Center for Book Arts in New York City and a volunteer with the Metropolitan Opera. She was the recipient of a Flushing Council on Culture and the Arts Award granted by the Flushing Town Hall in Queens, NY, in 2002. She has also been included in several editions of Who's Who in America, Who's Who in the East and Who's Who of American Women. Having lived a full and joyous life, Ms. Eller was married to her husband Robert Lee Rosenbaum for 42 years until his passing and she has two wonderful children and three amazing grandchildren. For more information, please visit www.evelyneller.com.

In recognition of outstanding contributions to her profession and the Marquis Who's Who community, Evelyn Eller has been featured on the Albert Nelson Marquis Lifetime Achievement website. Please visit www.ltachievers.com for more information about this honor.

Since 1899, when A. N. Marquis printed the First Edition of Who's Who in America(r), Marquis Who's Who(r) has chronicled the lives of the most accomplished individuals and innovators from every significant field of endeavor, including politics, business, medicine, law, education, art, religion and entertainment. Today, Who's Who in America(r) remains an essential biographical source for thousands of researchers, journalists, librarians and executive search firms around the world. Marquis(r) now publishes many Who's Who titles, including Who's Who in America(r), Who's Who in the World(r), Who's Who in American Law(r), Who's Who in Medicine and Healthcare(r), Who's Who in Science and Engineering(r), and Who's Who in Asia(r). Marquis(r) publications may be visited at the official Marquis Who's Who(r) website at www.marquiswhoswho.com.

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4. Hector Canonge, FF Alumn, summer 2018 events

Dear friends and colleagues:

I hope you are beginning to enjoy the Summer months. After completing the first part of my project "TEMPTATIONS" in Morocco, 'm ready to continue my journey through North Africa and the Mediterranean. If you know people in those regions, please feel free to share this announcement.

Regards,
HC

Summer 2018
ARS DYNAMO

June 2018 (Casablanca, Morocco) - Interdisciplinary artist, and curator, Hector Canonge finished his visit to Morocco, this evening with the presentation of a performance and a public intervention at Place des Nations Unis in Casablanca. Canonge arrived in Morocco on June 14 to begin a two month journey that will take him through various countries in North Africa and the Mediterranean region. Despite the recent fire that burned his studio-home in New York City, Canonge decided to complete his artistic commitments with cultural institutions, universities, community organizations, and art spaces that have been expecting him to feature his work in the upcoming weeks this Summer. In an interview for an upcoming French publication about his work, Canonge declared: "Theft and fire have stripped me of my material possessions, but I haven't lost my will to continue and rebuild again. I am fortunate to have friends that give me support, and a community that believes in my work. I started from zero many times, I am not afraid of doing it again..." On that note, the artist will be delivering new works in new territories in the upcoming months.

Canonge's project denominated "TEMPTATIONS" consists of a series of performances, talks, and workshops centered on the politics of the migrant body, the potential for human adaptability, and the ever changing nature of personal beliefs. Continuing with his work and research on Visual Performance Art, Relational Practices and Social Engagement, Canonge will launch a series of Live Art models that he has defined as "Socially Engaged Performative Actions." In Morocco, he worked closely with inner-city youth from a grassroots organization in Casablanca, conducted workshops at a cultural center in Marrakesh, and gave a conference in Tangier. The artist next stop is Egypt where he will develop and present new body of work in Cairo. Following that engagement, he will join this year's performance art workshop and festival in Nicosia, Cyprus, and will present a comprehensive program in Istanbul, Turkey. His first stop in continental Europe will be in Greece presenting new works and connecting with local artists, writers, and creatives in Athens and neighboring islands.

Canonge plans to return to the United States in early September to rebuild his studio-home, MODULO 715, to continue his work with programs at the Queens Museum, and to launch a new initiative involving Technology and Performance Art in the Fall.

Biography (short)
Hector Canonge is an interdisciplinary artist, curator, cultural entrepreneur, and educator based in New York City. His work incorporates the use of new media technologies, cinematic narratives, performance art, and socially engaged projects to explore and treat issues related to constructions of identity, gender roles, and the politics of migration. Challenging the white box settings of a gallery or a museum, or intervening directly in public spaces, his performances mediate movement, endurance, and ritualistic processes. Some of his actions and carefully choreographed performances involve collaborating with other artists and interacting with audiences. His installations, interactive platforms, and performance art work have been exhibited and presented in the United States, Latin America, Europe and Asia. As cultural entrepreneur, Canonge is the founder of the annual Performance Art Festival of NYC, ITINERANT, and of the first International Performance Art Festivals in Bolivia - South America, LATITUDES. Canonge started the projects: ARTerial PERFORMANCE LAB (APLAB), a transcontinental initiative to foster collaboration among performance artists from the Americas, PERFORMEANDO, a program that focuses on featuring Hispanic performance artists living in the USA and Europe, and PERFORMAXIS, an international residency program in collaboration with galleries and art spaces in Latin America. He directs the monthly programs TALKaCTIVE: Performance Art Conversation Series, and LiVEART.US hosted at the Queens Museum and at other institutions in NYC. His work has been reviewed by New York Times, Art Forum, Art in America, Hispanic Magazine y Hyperallergic, where he appears as a notable figure in Contemporary Art and Performance Art. The artist is currently preparing a new body of work for future presentations in Morocco, Turkey, Greece, and other European countries.

Website: www.hectorcanonge.net
Contact:
Email: hector@hectorcanonge.net
Cell / Whatsapp: +1 917 446 4472
Press: communications@hectorcanonge.net

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5. George Peck, FF Alumn, at Corcoran School of the Arts and Design, Washington, DC, thru Aug. 19

Dear Friends,

The exhibition Bridging Boundaries opened at the Corcoran School of the Arts and Design in Washington DC last week, and was a great success! My work and the work of Mary Miss, partnered with artists from the Kewa Pueblo, Santo Domingo, represents the kind of meaningful collaboration that is at the heart of Professor Joseph Kunkel's show. It was an honor to have some of our work on the Santo Domingo Heritage Trail Arts Project included as part of such an important exhibition and conversation.

The exhibition continues through August 19th, 2018.

Best wishes,
George

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6. Charles Clough, FF Alumn, now online

Clufffalo: Spring 2018 for your viewing pleasure:

http://www.clufff.com/ClufffaloSpring2018.pdf

Visit the Roycroft and add a layer of paint to Clufffalo: Summer2018. 646-283-6964

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7. Linda Stein, FF Member, at HUC Jewish Institute of Relision Museum, Manhattan, thru June 29

Stein is in a group exhibition called HOME(less) which features the works of seventy international artists who explore the meaning of home and the loss of home in works reflecting personal experience, historical and contemporary events, cultural diversity, and the universal human condition. Linda Stein's mixed media works explore the issues of global displacement and memory loss.

It takes place through June 29, 2018 in Hebrew Union College - Jewish Institute of Religion Museum, 1 West 4th Street, New York, NY 10012.

HOME(less) is a free exhibition and requires a photo ID for admission.

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8. Vernita Nemec, FF Alumn, at Wommanmade Gallery, Chicago, IL, opening July 6

Vernita Nemec aka N'Cognita has curated "Wordplay", an exhibition opening July 6 at Womanmade Gallery in Chicago.
see www.womanmade.org

Exhibiting Artists:
Angela Amias; Marjorie Arnett; Rebecca Baruc; Emily Beck; Trudy Borenstein-Sugiura; Ruth Burke; Megan Cherry; Maryangel Garcia; Fran Gardner; Kyra Garrique; Nina Ghanbarzadeh; Naomi Hart; Maxine Hess; Leslie Hirshfield; Brooke Jana; Mary Sue Kern; Rachel Kice; Maria Kompare; Tracy Kostenbader; Dorothy Krause; Katherine Krcmarik; Carole Kunstadt; Angela LaMonte; Cynthia Lee; Minjoo Lee; Gayla Lemke; Marcy Lichterman; Jackie Lima; Ara-Lucia; Rosemary Lyons; Megan Mattax; Jenna McDanold; Mary McFerran; Pamela Penney; Cynthia Petry; Nichole Riley; Emanuelle Schaer; K. Elizabeth Sekararum; Jenny Stopher; Harriette Tsosie; and Jessica Wagner.
About the Juror: Vernita Nemec

Vernita N'Cognita aka Vernita Nemec is a visual/ performance artist/ curator who has exhibited her art throughout the world.

Her artwork ranges across a variety of disciplines, from creating installations, m/m collages and tangible art objects such as the "Endless Junkmail Scroll to the creation of performance art that conceptually investigates theatre and its edges - using language, space, and time, silence and stillness as well as movement and voice as an instrument of self-expression.
In the 90's she served for a decade as the Director of Artists Talk On Art interviewing art world luminaries such as Irving Sandler, Rob Storr, Jerry Saltz, Nancy Spero, Peter Plagens and Robert Rosenblum. She was an independent curator at Henry Street Settlement for the Arts and currently, is the director of Viridian Artists, art gallery in Chelsea, NYC.

In 1995, she assumed the name VERNITA N'COGNITA in homage to under-recognized artists. In addition to her ongoing artistic output, she has curated and organized important exhibitions of art from recycled materials ("Art from Detritus: Recycling with Imagination") throughout the U.S., for which she received a Kauffman Foundation Fellowship and a grant from the Puffin Foundation.

Nemec AKA N'Cognita has presented her art in a variety of venues: galleries, universities and experimental spaces in the US, Mexico City, Darmstadt & Frankfurt in Germany; Dublin, Ireland and Tokyo, Japan. She has received funding for her performance art from the Jerome Fnd and the NEA and in 2010 and 2015 was invited by Movement Research to perform at Judson Church where performance art came alive in the 60's.

www.ncognita.com

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9. Barbara T. Smith, FF Alumn, at Getty Research Institute, CA, July 20

Good Morning,

On behalf of Barbara T. Smith, the Getty Research Institute would like to invite you to "A Conversation on Artists' Books: Barbara T. Smith and Andrea Bowers".
This is a public program that will take place on Friday, July 20, 2018 at the Getty Center at 7:00 p.m. Please see attached flyer for further information and how to sign up.
If you'd like to attend, please sign up online then reply to this email and we'll see that you receive complimentary top of the hill parking.

We hope to see you next month for this special conversation.

Best,
The Getty Research Institute

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10. Peter d'Agostino, FF Alumn, at BAM/PFA, Berkeley, CA, thru Sept. 2

Peter d'Agostino, FF Alumn, at BAM/PFA, Berkeley, CA to Sept 2, 2018.
The Walk Series: roof walk (1973) video is in "Way Bay 2" at the Berkeley Art Museum/
Pacific Film Archive. BAM/PFA describes the exhibition as a " wide-ranging exploration of the creative energies that have emerged from the San Francisco Bay Area over two centuries. It features almost two hundred works by Bay Area artists and others whose work engages directly with the region's geographic and cultural landscape." [https://bampfa.org/program/way-bay-2 ]

The Walks Series initiated d'Agostino's World-Wide-Walks projects performed on six continents over the past five decades. His 1970s video 'documentation/performances' evolved into video/web projects during the 1990s, and mobile/locative media installations in the 2000s, focusing on climate change over the past decade. World-Wide-Walks explore natural, cultural & virtual identities: mixed realities of walking through physical environments and virtually surfing the web. The World-Wide-Walks@40 (Selected works, 1973-2012) video is available at Electronic Art Intermix. [ http://www.eai.org/titles/world-wide-walks-40-selected-works-1973-2012 ]

A forthcoming book, World-Wide-Walks / Peter d'Agostino: Crossing Natural-Cultural-Virtual Frontiers, featuring an introduction by Kristine Stiles, is published by Intellect Press and distributed by the University of Chicago Press.

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11. Cave Dogs, FF Alumn, in Johannesburg, South Africa, thru July 17

Cave Dogs performance group (including Suzanne Stokes, Jim Fossett, Adam Mastropaolo and Trudy Trutwin) will be in Johannesburg, South Africa from June 22-July 17, 2018, to collaborate for 2-weeks with actors, dancers and musicians at the Sibikwa Arts Centre in Benoni, in the province of Gauteng, which is part of the Greater Johannesburg region. This collaboration between Cave Dogs and the Sibikwa Arts Centre will result in a shadow-based performance about Water that will be presented on July 6, 2018.

Cave Dogs and Sibikwa will also perform at the Center for the Less Good Idea in Johannesburg on Saturday July 7, 2018. Founded by William Kentridge, the Centre focuses on creating and supporting experimental, collaborative and cross-disciplinary arts projects.

Cave Dogs' is pleased to be working with both of these important institutions, the Sibikwa Arts Centre and the Centre for the Less Good Idea. Our performance will explore water as substance, resource and metaphoric allusion, in an effort to engage debates relating to the geographies and socio-politics of water. Water means life. There is now a shortage of water in the world. Access, and the use of water, is a compelling discussion that resonates worldwide, and especially in South Africa. By further exploring this through performance we hope to bring more awareness to this important topic. The work will focus on water in its many physical states, as well as cultural and political circumstances. Through history, memories and stories of advocacy we will examine the nature of existence and its relationship to water on physical and metaphysical planes. The finished work will form a collective narrative that addresses humankind's complicated relationship to this essential, natural resource.

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12. Louise Bourgeois, Ann Hamilton, Sol LeWitt, Shirin Neshat, Roebrt Rauschenberg, Kiki Smith, FF Alumns, in the New York Times, June 15

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

https://www.nytimes.com/2018/06/12/arts/design/show-us-your-wall-claudia-gould-art.html

The New York Times, June 15, 2018
SHOW US YOUR WALL: Claudia Gould
It's Not an Art Collection. It's Her Life.
By Hilarie M. Sheets

"I am not a collector," Claudia Gould, director of the Jewish Museum in Manhattan, said adamantly, sitting in her corner office overlooking Fifth Avenue and Central Park. An entire wall - hung densely, floor to ceiling, with works she's accumulated by Louise Bourgeois, Shirin Neshat and Sol LeWitt, among many others - might suggest otherwise.

"This is my work," said Ms. Gould, who typically acquires pieces directly from artists she knows and has collaborated with rather than by way of galleries or auctions. "It's all a visual history of my career. Every piece has a story. This is my life."

One particularly meaningful acquisition was a 1967 Robert Rauschenberg print inherited from an uncle. She was introduced to that artist's work at the Yale University Art Gallery as a teenager who took the bus into New Haven from the suburbs to go to museums or the theater. "I started reading about Rauschenberg," she recalled. "He said there's no separation between art and life. It was so inspiring to me as a high school student. When I moved to New York City and entered the art world in my 20s, I kind of created that myself."

As an intern at Artists Space in Manhattan in 1981, Ms. Gould worked alongside Ann Philbin, now director of the Hammer Museum in Los Angeles (the two curated their first show together while still interns for the venue Art Galaxy), and the photographer Cindy Sherman, who was then answering phones. Ms. Gould also befriended artists showing there, including Haim Steinbach and Laurie Simmons. One of Ms. Simmons's large photos is on a wall of Ms. Gould's small apartment on 12th Street, hung salon style.
After getting a job as a curator in Buffalo at Hallwalls Contemporary Arts Center with a recommendation from Ms. Sherman (one of its founders), Ms. Gould became close friends with Kiki Smith who was part of an exhibition about the artists collective Colab. Multiple works by Ms. Smith populate the director's office wall, including a self-portrait of Ms. Smith with her cat and birds.

Ms. Gould returned to Artists Space in the 1990s as director. She purchased prints commissioned for fund-raising benefits by artists she exhibited there, including Jim Hodges and Nan Goldin. An Ann Hamilton print was Ms. Gould's goodbye gift when she left to take the helm of the Institute of Contemporary Art in Philadelphia. She continued the practice of buying benefit prints commissioned from artists such as Maira Kalman, Karen Kilimnik, Barry Le Va and Lisa Yuskavage (Ms. Gould gave Ms. Yuskavage her first solo museum show in 2000).
When she moved to the Jewish Museum six years ago, Ms. Gould was keen to display art in the lobby. During a lunch she had with Mel Bochner, whose word paintings were going to be shown at the museum, he wrote on a slip of lined paper "KVETCH KVETCH KVETCH KVETCH" multiple times across his sketch of the front desk - a drawing now framed on Ms. Gould's wall. Ultimately, he used "BLAH BLAH BLAH BLAH" for the lobby wall, Ms. Gould explained, "because people were going to think everyone complains here."

These are edited excerpts from our conversation.

Do you have any particular favorites on your wall?
I love that Lisa Yuskavage painting, especially the [woman's striped] tights. I always wear patterned tights. Lisa gave me that for one of my big birthdays. Also the Sheila Hicks, who had this incredible show at the ICA. It was a change-maker for Sheila, who went from the craft world to the art world. When I first took the job at the Jewish Museum, she dropped by and dumped all this yarn on my couch and said, 'What colors do you like?' I just figured she wanted my ideas. A year later she showed up with this [small weaving]. I think that's the most surprising gift I ever got.

Have you had other unexpected gifts?
The photographer Seton Smith, Kiki's sister, one summer stayed in my apartment while I was traveling. When I left that apartment on 11th Street to buy an apartment on 12th Street, she gave me a suite of photographs she had taken from my window on 11th Street.

What do you like about the salon-style hanging?
What do you do with all this art? I live in 600 square feet. It's in my bedroom. It's just a nice way to wake up. I like the salon style. There's no separation between art and life. It's the same thing. My friends are the art world and people I work with. They expand and I expand with them.

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13. Seung Min Lee, FF Alumn, at The Kitchen, Manhattan, opening June 27

Hello Friends,

I have a video sculpture called that I've been developing for a while, that will be included in "On Whiteness" at The Kitchen, organized by The Racial Imaginary Institute. The show opens on Wednesday, June 27th, hope you get a chance to make it!

As part of the programming, I am creating a performance called Intolerable Whiteness, in the Kitchen's theater on Monday, July 23rd, 8pm, free admission

Very special thanks to the curators LeRonn Brooks, Cathy Hong, and Lumi Tan for all their efforts in helping me to develop this work and allowing me to participate in a dialogue I can't imagine a better time for.

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14. Susan Bee, FF Alumn, at Sylvia Wald & Po Kim Art Gallery, Manhattan, opening June 26

A Time Before We Were Born:
Visions of Arcadia in Contemporary Painting
Curator: Raphael Rubinstein
Artists: Susan Bee, Katherine Bradford, JooYoung Choi, Rafael Ferrer, Roy de Forest, Paul Georges, Chris Johanson, Po Kim, Fay Lansner, Judith Linhares, Donna Moylan, Jan Müller, Archie Rand, and Purvis Young
Venue: Sylvia Wald & Po Kim Art Gallery, 417 Lafayette Street, 4th Floor, NYC
Date: June 26 through September 29, 2018.
Opening Reception: Tuesday, June 26, 6-8 PM: RSVP
Gallery opening times: 11am-6pm, Tuesday thru Saturday

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15. Einat Amir, FF ALumn, at the Israel Museum, Jerusalem, opening June 26

Dear friends and colleagues,

I am happy to invite you to experience my new commissioned work for The Israel Museum. When Was The Last Time - an interactive installation, will be on display for 9 months as part of the exhibition I to Eye, Curated by Shir Meller-Yamaguchi.

The opening will take place at the museum's Weinstein Gallery, Ruth Youth Wing, on Tuesday, June 26, 6pm. See invitation attached.
Please Join us if you can!

This work was made possible with the help of some highly talented friends -
Shay Id Alony (booths design), Yair Vardi (lighting design) and Itai Matos (light and sound programming).

Wishing you a peaceful summer,

Einat Amir
http://einatamir.com

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16. Frank Moore, FF Alumn, now online at KQED.org

Frank Moore is now featured in an article from KQED Arts, "Amidst 'Way Bay 2,' Rediscovering the Audacious Life of Frank Moore." See the article here:
https://www.kqed.org/arts/13835688/frank-moore-berkeley-bampfa-way-bay-2

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17. Arlene Rush, FF Member, at SFA Projects, Manhattan, opening June 28, and more

"Your Presence is Requested"

The show is a compilation of painting, collage, sculpture, photography, and mixed media. The works on view explore the inner-core of the human psyche, sometimes conjuring one's presence and our own existentialism.

Artists include: Vincent Arcilesi, Grace Baxter, Colleen Blackard, John Breiner, Nicolas Busigo, Luzia Castaneda, Eileen Coyne, India Evans, Ariel Herman, Holeender X2, Jun'ichiröIshida, Jody MacDonald, Suyeon Na, Juan Miguel Palacios, Chloe Pitterson, Jesse Scaturro, Nola Romano, Arlene Rush, Bartek Walicki, Bedel Tiscareno

AHA ArchilesIHomberg Fine Art

SFA Projects, 131 Chrystie Street, New York, NY 10011

Show dates:

OPENING RECEPTION: Thurs, June 28th, 6-9PM

Fri, June 29 & Sat, June 30, 11-6PM

and

SAVE THE DATE

"DEFINING FORM 2018"

Opening reception: July 11th, 6-9PM
July 11 - August 1

45 Lispenard Street
New York NY 10003

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18. Nancy Azara, FF Alumn, in Manhattan/Melbourne, Australia, Aug. 11

Saturday, August 11, 2018, 8pm-11pm (EST)
The Great Divide, The Women's Art Register (Melbourne) and (RE)Present (New York) connect in an Intergenerational dialogue and a collaborative feminist zine. A live, interactive session will address the need to communicate more broadly with each other about our different ages and experience as feminists and artists. Although we share aspects of a common feminist history, we want to explore the ways our distance (both generationally and geographically) inflects our culture, our politics and our art-making. Join Vanessa Godden, Tassia Joannides, Juliette Peers and Caroline Phillips from the Women's Art Register (MEL), in conversation with Nancy Azara, Emily Harris and Rachel Steinberg from (RE)Present (NYC). This program is part of MEL&NYC, supported by the Victorian Government.

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19. RT Livingston, FF Alumn, at Santa Barbara Tennis Club, CA, thru July 6

I'm in a show this month: Aquatic at the Santa Barbara Tennis Club.

Hope you are thriving,

Best,

RT Livingston

THE CiC: I draw the line where the water meets the sky...pewter sea, grey-blue sky
RT Livingston

Annual Jury Competition

We are honored to have Chris Rupp as this year's Juror of Awards.
Chris is a local artist, educator and curator at the Westmont-Ridley Tree Museum of Art.

RECEPTION & AWARDS: June 8th, 5:30 - 7:30pm.

EXHIBIT DATES: June 8th - July 6th

Susan Tibbles Curator/Director

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Please join Franklin Furnace today:
http://franklinfurnace.org/support/membership2017-18/

After email versions are sent, Goings On announcements are posted online at http://franklinfurnace.org/goings_on/recent_goings_on/goings_on_2018.php

Goings On is compiled weekly by Harley Spiller

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Goings On is compiled weekly by Harley Spiller