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Contents for September 26, 2018

1. Judith Sloan, FF Alumn, at Jamaica Performing Arts Center, Queens, Sept. 30

One night only: a true tale of Queens
by Mark Lord, qboro contributor | Posted: Thursday, September 20, 2018 10:30 am

One night only: a true tale of Queens

Last November, longtime borough resident Judith Sloan was commissioned by the Queens Council on the Arts to create an original theatrical piece that would focus on stories inspired by the people in Southeast Queens neighborhoods.
Nine months of interviews followed, as Sloan found out firsthand about the hopes, fears and inspirations of the people who make up the fabric of the area. From their tales, she developed an array of fictional characters and placed them in a hair salon in what she described as an ever-changing neighborhood.

And now, for one night only, on Sept. 30, theatergoers will have the opportunity to follow their stories as they're revealed in "It Can Happen Here," promoted as "a dramatic comedy with songs."

The free performance will take place at the Jamaica Performing Arts Center.

Rehearsals began just over a week ago. The entire cast- Sloan and four other women - came together for the first time on Saturday, allowing the company to run through the show's rhythmic theme song.

"Wild things can happen when you least imagine," they sang, setting the scene and suggesting the journey their respective characters are about to pursue.
The two lead characters - one black, one white - are hairdressers who dream of following what the show's press release describes as their "passion for singing and nurturing a community in the midst of a national political climate of chaos, division and autocracy."

The process of working on the play "has kept me in touch with the love of learning, of listening and challenging each other in the face of adversity," Sloan said.
The production seems to be hitting close to the heart of all involved.
Cast member Priya Darshini, an actress and singer from Mumbai, said, "I'm an immigrant. The play resonates with me. My voice can be heard through all the stories." Though she lives in Brooklyn, she acknowledged, "Queens feels like home. It's reminiscent of India."

Playing a character based on a real person can bring a special responsibility. "It gives it much more weight. You want to represent that person's story as best you can," Darshini said.
Another actress and singer in the company, Meah Pace, agrees. "There's something exciting knowing the story is real," she said. "It's guaranteed to be someone else's story. You feel like you're representing a lot of people ... very likely we'll reach someone."
Rounding out the cast are actress and percussionist Lisette Santiago and musician and backup singer Emily Wexler.

For director Alexandra Aron, knowing that the piece is about real people is not a major factor in what she has to accomplish. "I'm working with what I'm given," Aron said. "You're still trying to find motivation and make the story clear."

Sloan's was one of four playwriting applications selected from an estimated 100 for the Council's inaugural Artist Commissioning Program, which provides artists with funding towards the creation and production of original works.

She indicated that since she began working on the piece, she has interviewed hundreds of individuals for inspiration. "I have so many characters that I've written ... that we all think it would make a good TV series," she said.

"Everyone working on [the play] hopes it will be performed somewhere else. As of now, this is it! So everyone should come now."

'It Can Happen Here'
When: Sun., Sept. 30, 7:30 p.m.
Where: Jamaica Performing Arts Center, 153-10- Jamaica Ave.
Tickets: Free. (718) 791-4324,
queenscouncilarts.org

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2. Mark Bloch, FF Alumn, in White Hot Magazine, now online

M_______, The Menopause Project by Nancy Nowacek

https://whitehotmagazine.com/articles/menopause-project-by-nancy-nowacek/4046

"M_______, The Menopause Project" was a pop-up shop and public platform to educate and empower women of all identities and ages around the biological, physical, emotional, and cultural facets of menopause, addressing silence, isolation and shame with visibility, education, exchange and community. There were open forums, speakers, information dispersed, art objects to buy and a sizable sound event nearby all headquartered in a beehive of activity in a jubilant and informative Brooklyn storefront. With genius taglines like "End mystery, shame and anxiety around aging bodies. Celebrate puberty in reverse!" and "Menopause affects half the world's population. Why don't we talk about it?," the curator Nancy Nowacek demonstrated her prowess with persuasive pronouncements manifesting as public art.

and

The Walking Landscape - The Art of Tang Chenghua Curated by Lan Zhang August 3 - August 14, 2018 The Gallery of Amerasia Bank Flushing, New York

https://whitehotmagazine.com/articles/walking-landscape-art-tang-chenghua/4024Tang
Chenghua: "The Walking Landscape"

"In these framed paper works, Tang Chenghua's use of translucent tones imitate life in Queens as well as Manahattan, in the USA as well as China, with their fluid delineation of light and space relationships. Hints of sea, sun and scenery, evidence of evasive winds, flowing currents and other rhythms bring the cycles of nature to life, transporting visions from outside of Beijing and his native Fujian into the outer boroughs of New York. Each work conveys radiance. Some employ fluid black lines, strokes and dots to delineate mysterious form within the color, creating recognizable "scenes," while others forge those same undifferentiated elements into memorable but elusive tableaus of pure abstraction, as inventive and expressive of the artist's far-reaching passion as the larger oil and acrylic works and even installations I expected I might see here.

Tang's The Walking Landscapes exhibition announced to me, and I suspect others, the promise a career that has only just begun to make itself known to longstanding American markets, but more importantly, to all appreciators of beauty, color, imagination and craftsmanship, not unique to West or East, but endlessly necessary and universal."

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3. Doug Beube, FF Alumn, open studio, Brooklyn, Sept. 29-30

DOUG BEUBE
FALL OPEN STUDIO
September 29-30, 2018
Saturday and Sunday
11am - 5pm
Recent bookwork, collage, stop motion animation and a new installation with books frozen in ice entitled, Dissolve will be on display.
Please bring family and friends.
DOUG BEUBE STUDIO
69 Fort Greene Place, Brooklyn, NY 11217
718-834-8432 917-757-5758
doug@dougbeube.com
dougbeube.com
https://vimeo.com/279020998

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4. Ann-Marie LeQuesne, FF Alumn, in Dublin, Ireland, Oct. 14

Fanfare for Crossing the Road - Dublin
Ann-Marie LeQuesne
invites you to cross the road
Sunday, October 14th - from 3 pm
Grafton Street to St Stephen's Green, Dublin 2

Fanfare for Crossing the Road began in 2011 at the crossing in front of the Albert Hall in London. Since then it has been performed in Helsinki, Lisbon, Cardiff, New York and Philadelphia. In each location LeQuesne asks musicians - dressed in uniforms and positioned beside the traffic lights - to mimic the sounds (different everywhere) that signal the time to cross for the blind. The Dublin Fanfare will feature 4 musicians on violins and percussion.

The work has been shown at Photographic Gallery Hippolyte, Helsinki, 2012; the 4th Wall Film Festival, Pedwaredd Wal, Cardiff, 2012; Plataforma Revólver, Lisbon, 2013; AC Institute, New York, 2014; Icebox Project Space, Philadelphia, 2015 and studio1.1, London, 2018.

Ann-Marie LeQuesne is an artist living and working in London. She stages collaborative performances working with groups of people in public places.

Supported by Dublin City Council

www.amlequesne.com
www.theannualgroupphotograph.com

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5. Richard McGuire, FF Alumn, in The New York Times, Sept. 19

Please visit this link:

https://www.nytimes.com/2018/09/19/arts/design/richard-mcguire-new-york-art-book-fair-alden-projects.html

thank you.

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6. Peter d'Agostino, FF Alumn, at Muhlenberg College, Allentown, PA, thru November 3

Peter d'Agostino: COLD / HOT - Walks, Wars & Climate Change
This exhibition, opened on August 27 and continues until November 3, focuses on the theme of COLD / HOT as it relates
to walks, wars and climate change, drawing from a selection of Peter d'Agostino's work, in particular his World-Wide-Walks / between earth & water installations, ICE / DESERTS / WETLANDS.

Martin Art Gallery, in the Philip Johnson designed Baker Center for the Arts, Muhlenberg College, Allentown, PA.
Works in the exhibition are accompanied by a catalogue with contributions by Christiane Paul, Kristine Stiles,
and David I. Tafler. [ download e-catalogue at http://peterdagostino.com/texts.html ]

D'Agostino has performed the Walks on six continents over the past five decades. Initiated as video 'documentation / performances' in 1973, the Walks evolved into video/web projects in the 1990s and mobile/locative media installations
in the 2000s, probing and examining climate change during the last decade. World-Wide-Walks explore natural, cultural, virtual identities: mixed realities of walking through physical environments and virtually surfing the web.

As a key to the thematic content of this exhibition, recent Walks performed with 360- degree VR video cameras serve to bridge d'Agostino's use of new media technologies with an earlier work, VR/RV: a Recreational Vehicle in Virtual Reality (1993-94). Portraying simulations of armed conflicts in Asia and the Middle East as a fully immersive interactive virtual reality project
with an HMD (head-mounted display) and data gloves, VR/RV appears in this exhibition as a video installation.

In the Anthropocene era, walks, wars, and climate change, as observed on glaciers, wetlands and deserts, become sites of accelerated and enflamed transition, potential zones of stress and conflict. In 2007, the Intergovernmental Panel on Climate Change (IPCC), a team of scientists from around the world, confirmed initial indications that human activity caused the
Earth's rising temperature.

In Climate Change and Armed Conflict ( 2009 ) James R. Lee identifies the resultant symptoms of climate change stress and conflict: loss of arable land, migration, border disputes, resource shortages and shifting energy supplies. Exacerbating the situation, the growing population and proliferation of human civilization across the globe has diminished drastically the
reservoir of untapped lands (historically a "pressure valve"). Of those untapped lands remaining, marginal areas like the
Arctic and Antarctica might become more habitable leading to even greater conflict for land and resources.

Works in the exhibition:
World-Wide-Walks / between earth & water / ICE (2012-14)
Walks along the edge of glaciers, at the top and bottom of the globe in Iceland, Alaska and Argentina -to witness signs of global warming. Juxtaposed with the walks and a sound score of evolving glacial dynamics are cautionary texts that serve as a counterpoint to the sheer beauty of these places- reminders of the fragility of massive glaciers during our current era of accelerating climatic changes.

World-Wide-Walks / between earth & water / DESERTS (2011-18)
Walks in the four major desert areas of North America. The Chihuahuan Desert includes: Soaptree Yucca plants, fields of petroglyphs, the location of the first Atomic Bomb detonated in 1945 preceding Hiroshima and Nagasaki, as well as the U.S./ Mexico border separating the sister cities of El Paso and Juarez. [ In-progress: Mojave, Sonoran, and Great Basin deserts.]

World-Wide-Walks / between earth & water / WETLANDS (2010-18)

Walks focusing primarily on the Florida Everglades and Cuba's Zapata Swamp provide important insights into the effects of
the changing climate and issues related to cold / hot wars. The Zapata preserve is adjacent to Cuba's Bay of Pigs, where the
failed invasion led to the most dramatic and dangerous incident of the Cold War - the Cuban Missile Crisis in October 1962.
VR / RV: a Recreational Vehicle in Virtual Reality (1993-94)
VR/RV explores the displacement and disembodiment of a technologically determined culture which co-mingles video
games and computerized war. Reconstructed scenes from the atomic bombing of Hiroshima in 1945 are juxtaposed with
'smart bombs' used in the Gulf War, 1990-91.

Peter d'Agostino's pioneering photography, video and new media projects have been exhibited internationally in the form
of installations, performances, telecom events, and broadcast productions for over four decades. He is the recipient of a
Leonardo Art & Climate Change project award, 2010-11. Surveys of his work include: World-Wide-Walks/ between earth
& sky / 1973- 2012, BizBAK Art Gallery, Bilbao, Spain; Between Earth & Sky: MX (1973-2007), exhibited at Laboratorio
Arte Alemeda, Mexico City; Between Earth & Sky, 1973/2003, University of Paris I Pantheon-Sorbonne; Interactivity and Intervention, 1978-99, Lehman College Art Gallery, New York. Major group exhibitions include: The Whitney Museum of American Art (Biennial, and The American Century -Film and Video in America 1950-2000), the Sao Paulo Bienal, Brazil,
and the Kwangju Biennial, Korea. His works are in the collections of The Museum of Modern Art, New York, San Francisco Museum of Modern Art, Berkeley Art Museum / Pacific Film Archive, Kunsthaus, Zurich, Foundation La Caixa, Barcelona, Spain; and is distributed by Electronic Arts Intermix, NY.

Martin Art Gallery is located on Muhlenberg College Campus, 2400 Chew Street, in Allentown PA 18104.
https://www.muhlenberg.edu/main/aboutus/gallery/
Hours are Tuesday - Saturday 12 - 8pm. All programming is Free and Open to the Public.
Contact: Paul M. Nicholson, Gallery Director paulnicholson@muhlenberg.edu

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7. Chun Hua Catherine Dong, FF Alumn, at Patrick Mikhail Gallery, Montreal, opening Sept. 29

Chun Hua Catherine Dong presents her solo exhibition, IN TRANSITION, at Patrick Mikhail Gallery, Montreal, CA. Sept 29-Nov 3, 2018.

Opening reception: Saturday, September 29, 2018. 2:00pm -6:00pm

"The future is always present, as a promise, a lure and a temptation." - Karl Popper

IN TRANSITION is a vision of the near future of human relations with robots, exploring how humans and robots co-exist and bind together with one destiny. While our society continues to struggle with modernity, questions of "Where are we?" and "Where are we going?" still have not been answered, and our co-existence/co-presence with robots demonstrates a fundamental transformation in human civilization. The exhibition draws from the tradition of performance, striving to provide a key for a better understanding of ourselves, our bodies, our emotions, and our relations with non-human others. IN TRANSITION also raises questions about how to challenge the boundaries of self/other, culture/nature, and human/machine, moving beyond traditional gender, feminism, and politics, creating a new social relation that expands and amplifies humanity.

For more info about the exhibition
http://www.patrickmikhailgallery.com/exhibitions/chun-hua-catherine-dong

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, 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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8. Christen Clifford, FF Member, fall events

"End the perpetuation of systematic race/gender/sex/ability/class- based economic oppression."

It's officially FALL. I'm still angry.
Happy fall.

I have some events and performances I want to let you know about, so here I am.

Sept 26: Artist's talk on The History of Rape for The Un-Heroic Act at Shiva Gallery
Oct 4: Opening of AiOP at Westbeth Gallery
Oct 9: Experiments and Disorders at Dixon Place
Oct 11: AiOP 14th Street opening 6-9
Oct 31: Reimagine End of Life at Caveat, a conversation with Neil Goldberg
I hope you are able to find some joy. I am.

xo
Christen

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9. Linda Stein, FF Member, at Anita Shapolsky Gallery, Manhattan, opening Sept. 27

Linda Stein will be featured in the group exhibition "Super Bodies", a cross-cultural and transhistorical exploration of the body in art presented by the Anita Shapolsky Gallery. "Super Bodies" moves beyond our typical focus on abstract expressionist paintings to exhibit art from a potpourri of artists, periods, countries, and media. Antiques from Japan, China, Burma, and Greece from Anita Shapolsky's own collection are scattered throughout the exhibition to compliment the modern and contemporary works, all exemplifying the ever-present drive to represent the body in both the abstract and the figurative.

The instinctual drive to creatively capture the body in all its forms has existed for thousands of years. It is a drive that has rooted itself at the very core of our humanity. From ancient Greek kouroi to contemporary portraiture, the human body has served as the artist's most familiar yet most elusive subject. Even the mid-century abstract expressionists attempted to convey the complexities of thought and emotion - what makes humans human - using their own bodies as translators.
Opening Reception is Thursday, September 27 at 6pm. Exhibition is open through Tuesday, January 8, 2019.

152 East 65th Street, New York, NY 10065
212-452-1094

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10. Kazuko Miyamoto, FF Alumn, at Zürcher Gallery, Manhattan, Nov. 5

A.I.R. GALLERY CELEBRATES
FORTY-SIX YEARS OF RADICAL VISION
Tribute to Kazuko Miyamoto
Monday, November 5, 6:30pm
Zürcher Gallery
33 Bleecker StreetNew York, NY 10012

A.I.R. Gallery would like to invite you to an intimate dinner honoring the
distinguished artist and early A.I.R. member Kazuko Miyamoto
during her solo exhibition at Zürcher Gallery.

Miyamoto has been an outstanding champion of feminist and alternative spaces in the art world at A.I.R. and at her own Lower East Side gallery onetwentyeight. She is a preeminent figure in minimalism. Her decades-long interest in line, irregularity, and string constructions can be summed up in her own words from 1973:

"Kazuko create[s] linear system[s] by extending string between
nails on wall. These materials and lighting form an area
of sensitivity and spaciousness. The most beautiful is to have
nothing on the wall, the second most beautiful is to have
line on it, and then the third is to break the wall."

Please join us for a Japanese-inspired three-course meal prepared
by A.I.R. Artists. Tickets include cocktails, dinner, and a work of art by
gallery artists and friends featured in a raffle.

Very limited seating available, purchase your ticket before they sell out.

Ticket for the A.I.R. Gallery benefit honoring Kazuko Miyamoto
$400.00

https://www.airgallery.org/store/ticket-for-the-air-gallery-benefit-honoring-kazuko-miyamoto

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11. Nicolás Dumit Estévez Raful, FF Alumn, at Mothers On the Move, The Bronx, October 11

PERFORMING THE BRONX
A project by Nicolás Dumit Estévez Raful and Collaborators: Fifth Action (part two) of the Series

The South Bronx: Past, Present and Future
A presentation by Mili Bonilla, followed by a conversation with Wanda Salamán and Nicolás Dumit Estévez Raful

Accompanied by an exhibition of Mili Bonilla's Personal Photographic Archives

Thursday, October 11th, 6:30 pm
Mothers On the Move (MOM)
1158 Intervale Avenue
Bronx, NY 10459
(Between East 169th and Tiffany Street)
Refreshments will be served

For the fifth chapter (part two) of Performing the Bronx, long-time activist and former director of Mothers on the Move (MOM), Mili Bonilla discusses the Bronx focusing on:

Why did the Bronx Burn?
Who profited from the Destruction?
What did the people do to fight back?
What are the issues the Borough is facing now?
Is gentrification the next fight?

About Performing the Bronx
Estévez Raful works with a group of iconic Bronxites to co-develop with him performative actions that they present together in private or in the Bronx's public realm, focused on the histories that tie these individuals to specific communities and neighborhoods in their borough. These otherwise ephemeral gestures are recorded in photography, video and/or writings. All of these materials will serve as the basis for a future publication conceived and edited by Estévez Raful.

Performing the Bronx is an expansion of Estévez Raful's on-going efforts to generate work with and within different communities in the Bronx. It is also representative of his interest in recovering, reclaiming and remembering histories of the area's inhabitants that run the risk of being effaced by time, lost in the midst of neighborhoods in flux, or dismissed by dominant discourses that often position themselves at the center of the conversation. With Performing the Bronx Estévez Raful continues contributing to the archives of the place he calls home. Past collaborators include Bill Aguado, Wanda Salamán, Danilo Lachapel, and Arthur Avilés. Upcoming actions will include Caridad De La Luz 'La Bruja,' among others.

Mili Bonilla is a long-time Puerto Rican activist who was raised in the South Bronx. When the South Bronx was ravaged by arson, she became a trained Community Organizer as a founding committee member of South Bronx People for Change that organized faith communities to build a power base for social change. She was also the co-founder of Mothers on the Move (MOM) a multi-issue social justice organization. The first in her family to graduate from college, she earned a BA and an MA from Hunter College CUNY. She continues her political activism in actions for Puerto Rico's self-determination, justice for marginalized communities, and support for international solidarity. She loves world music, reading, travel, photography, films, and doodling.

Wanda Salamán is the Executive Director of Mothers on the Move / Madres en Movimiento, a non-profit organization advocating for housing, youth and environmental justice in the South Bronx. Salamán's experience mobilizing her neighbors began soon after she arrived in the South Bronx from Puerto Rico, in 1975, at the age of 10. Salamán has created youth patrols to protect families from robbery and harassment, and through door-to-door organizing, research and issue-based campaigns she has counseled tenants, homeowners and landlords about legal rights and neighborhood revitalization, building a strong base with the Northwest Bronx Community & Clergy Coalition, the Crotona Community Coalition and the Fordham Bedford Organizing Project. In 2003 she formed the Latina Political Action Committee (LPAC) to educate other Latinas on electoral politics and to build their voting power and influence. One of Salamán's projects has been Green Jobs Not Jails, through which the community successfully blocked funding for a new prison and pushed NYCHA to hire its residents to green their buildings. http://mothersonthemove.org/wordpress/

Nicolás Dumit Estévez Raful treads an elusive route that manifests itself performatively or through experiences where the quotidian and art overlap. Concurrently, this path has been informed by a strong personal interest in immigration, cultural hybridization and Estévez Raful's understanding of identity as a process always in flux. He hence approaches the concepts of home and belonging to the U.S. American context from the perspective of a Lebanese-Dominican, Dominican York who was recently baptized as a Bronxite: a citizen of the Bronx. While ephemeral by nature, Estévez Raful's work gains permanence through audios, photographs, props, drawings, rumors, embodied memories, costumes, websites, videos and publications. http://hemisphericinstitute.org/hemi/en/e-misferica-81/dumit-estevez

Performing the Bronx is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council and the Bronx Council on the Arts. Special thanks to Mothers on the Move (MOM).

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12. Roberta Allen, FF Alumn, at Sidewalk Cafe, Manhattan, Oct. 4, and more

I will read at *ProsePros* Sidewalk Cafe, 94 Ave. A, at 6th St.

Thursday, Oct. 4

6:30 pm - 7:45 pm. (Starts On time).

from my story collection, The Princess of Herself.

From my story "Hot:"

"He wants me to look hot. So I look hot. As hot as a sixty-year-old woman
can look on Halloween without a bra. I'm jiggling under a shiny black teddy,
trimmed with lace. Until I tried on the teddy in the thrift shop, I felt like those
old women with long pancake breasts in ethnographic films, sitting in grass
huts, kneading something doughlike."

Also reading is Robert Anthony Siegel.

and

I am part of the very large group exhibition and catalogue: "Women Artists: Elibri d'artista, cataloghi, fotografie, inviti, poster e multipli"

The exhibition will continue until October 5.

12.2 Art Gallery & L'Arengario Studio Bibiliografico
Corso Martiri della Liberta 21
25122 Brescia
Italy

A conceptual artist in the collection of The Met Museum, I have exhibited worldwide.

www.robertaallen.com

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13. Charles Clough, FF Alumn, now online

Hi Workshop Participants and Friends,

Here is the link to the online version:

https://clufff.com/ClufffaloSummer2018.pdf

Here is the link to purchase the print version:

http://www.lulu.com/shop/charles-clough/clufffalo-summer-2018/paperback/product-23811704.html

Thanks so much for creating it!

Come, paint again!

Charlie

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14. Elke Solomon, FF Alumn, at A.I.R. Gallery, Brooklyn, opening Oct. 12

Elke Solomon, "Early Bird Special Cafe" October 12 - November 11, 2018
Opening Reception: Friday, October 12, 6-8pm
Bingo Night with Lulu Fogarty, Sunday, November 4, 4-6pm
Limited Seating, RSVP earlybirdbingo@gmail.com

A.I.R. Gallery, 155 Plymouth Street, Brooklyn, NY 11201
T 212.255.6651, Wed-Sun 12-6pm

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15. Susan Newmark, FF Alumn, open studio, Brooklyn, Oct. 20-21

You are invited to see my new mixed media work as part of Arts Gowanus Open Studios 2018, Saturday October 20 and Sunday October 21, from noon to 6 PM. I will be exhibiting at Strong Rope Brewery at 574 President Street, between 3rd and 4th Avenue in Gowanus. Melanie Kozal will also be exhibiting her work with me.

Gowanus Open Studios 2018 is a free event that takes place each October. 350 artists in the neighborhood will open their studio doors and welcome the public to view and talk about art. Arts Gowanus is a not-for-profit organization working to support, promote, and advocate for local artists and help to create a sustainable arts community.

Strong Rope is a new microbrewery and taproom making wonderful handcrafted beers and ales using regional ingredients. You can also view many other artists' work down the block at 540 President Street at Space Works and Red Dot Studios.

If you want to contact me I can be reached at snewmark.fleminger@gmail.com, my website is susannewmark.com

Closest Subway:
R to Union Street, change from the F at 4th Avenue to the R at Dekalb
F to 4th Avenue, transfer to the R
Dekalb B/Q/R to Union Street

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16. Joan Jonas, FF Alumn, at Five Points Gallery, Torrington, CT, Sept. 28

Art21 Art in the Twenty-First Century
screening and discussion
at Five Points Gallery

Friday, September 28, 2018 at 6:30pm
Moderated by Launchpad Artist: Aaron M. Flynn

Join us for this month's screening, Fiction, will be followed by an informal round table discussion

Artists included in the video are Omer Fast, Katharina Grosse and Joan Jonas.

Light refreshments will be served.

This event is free and open to the public
$5 Suggested Donation

Live Each Day With a Masterpiece
A Raffle to Benefit Five Points
Tickets available at Five Points Gallery
Or for more information, http://www.fivepointsgallery.org/five-points-raffle.html

"I do not want art for a few any more than education for a few or freedom for a few...."
William Morris

With support from the Dept. of Economic and Community Development, Connecticut Office of the Arts, which also receives support from the National Endowment for the Arts, a federal agency.

Five Points Gallery is a 501c-3 non-profit organization

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17. Doug Beube, FF Alumn, open studio, Brooklyn, Sept. 29-30

DOUG BEUBE
FALL OPEN STUDIO
September 29-30, 2018
Saturday and Sunday
11am - 5pm
Recent bookwork, collage, stop motion animation and a new installation with books frozen in ice entitled, Dissolve will be on display.
Please bring family and friends.
DOUG BEUBE STUDIO
69 Fort Greene Place, Brooklyn, NY 11217
718-834-8432 917-757-5758
doug@dougbeube.com
dougbeube.com

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18. Neal Medlyn, FF Alumn, at Red Eye Theater, Minneapolis, MN, Oct. 21-29

Whoa.

You guys.
Red Eye Theater in Minneapolis of the Minnesota Minneapolises is staging the world's very first independent productions of one of my Pop Star Series shows: ...Her's a Queen, running Oct. 21-29.
This is a huge thrill for me, I'm gonna fly out and see the show on the final night and I hope you will go see it!!!!

Also, this lit what the kids call "a fire under my ass" to finally get the archive of all those shows online, and lo, I did so!
There are full videos of all seven shows available at NealMedlyn.org
And wait that's not all, I also uploaded a lot of the songs I made for the Pop Star Series shows on to a SoundCloud account located here, so you can listen to that too!
And, my Pop Star Series book from the fine folks at 53rd State Press is out, so that you and your friends can read it and then stage a production in your town, hamlet or city. It's got the scripts of all seven of my Pop Star shows along with explanatory things and wonderful pictures by the amazing Paula Court.

Hope yr doing good. See you soon!

Neal Medlyn

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19. Alina and Jeff Bliumis, FF Alumns, at Parallel Vienna, Austria, thru Sept. 30

If you are in Vienna, please join me at

PROJECT STATEMENT at PARALLEL VIENNA
Room 2.49 / second floor
Lassallestraße 1, 1020 Vienna
www.parallelvienna.com
Press preview: Monday, 24th September. 2018
Opening: Tuesday, 25th September 2018
The fair will run from Wednesday, 26th September-Sunday, 30th September 2018.

I will be showing Most of Us Are 2018 alongside works by Jeff Bliumis and Ivan Novikov, curator Maria Kalinina.

Stamatina Gregory
Never Been to Nauru
What is a global citizen? In the absence of a transnationally enforceable set of laws or doctrines on human rights, ecological preservation, or other interests of humanity, what remains is a set of ideas, historical and contemporary, on what this term-global citizenship-could mean. In 2005, the World Values Survey-a global research project providing data on socio-cultural and political change-included for the first time the statement "I see myself as a world citizen," in its polling of almost 54 countries on subjects including religion, national identity, and well-being. (For the record, most of those polled in 2005 agreed.) Over the past decade (one in which globalization and its discontents have been only recently the subject of major electoral rifts), global citizenship has come to be defined in various ways, including interconnectedness, social and environmental justice, empathy, and cultural understanding.
Although there are now plenty of innovative curricula and inspired mission statements around this idea, there is little consensus on how and why people come to see themselves as shar- ing some wider identity. But one could extrapolate one possible shared idea: on some levels and in some ways, however banal or incidental, we are more alike than different. Regardless of mass educational inequality, we generally agree that the earth is round. Despite our nuanced views on the finer points of the government's regulation of the free market, or the degree to which extreme wealth is rightfully earned, we mostly agree that capitalism's effects are evident (the poor get poorer). We have statistically dominant favorite colors and favorite Disney moments.
If some of this sounds like a sappy commercial, that's no accident. "Most Of Us Are" (2018) takes as its material recent years of both statistic demographic research and global opinion polling-practices that originated after the Depression, when decreased funding for advertising created a demand for more informed knowledge about domestic (and eventually, international) consumer demographics. Bliumis's work references several of the hundreds of worldwide polls undertaken recently, including regular Bible reading (tracked by Gallup since 1992); acknowl- edgment of climate change (Gallup, 2007); belief that capitalism results in growing inequality (YouGov, 2017); and the belief in extraplanetary life (Glocalities, 2017). In each work on canvas, a global everyperson, metaphorically sketched in broad categorical strokes, is accompanied by the literal sketches of figures, resembling those found in instructional books on life drawing, which present "average" human figures and the basic shapes of their rendering - cubes, triangles, oblongs, long and arced lines. Unique physiognomies, race, disability, and other forms of dif- ference evaporate in these dual portraits, each a simultaneously tender and absurdist poem of statistical appropriation.

On the one hand, no citizen of the world cobbled together from shared demographic data truly exists. "Most of Us Are #1" makes this point, tongue in cheek, noting "most of us are named Mohammed, last name Lee." A few Mohammed Lees undoubtedly exist in the world-but clearly under a radically different set of intercultural circumstances than the vast majority of those that share either their surname or first name. (A well-known line from the American TV sitcom The Big Bang Theory, in which a character, angling for a "statistical edge" in his answer to a trivia question about a famous astronaut, shouts the name "Mohammed Lee," has become a contemporary punchline.) "Most of Us Are" playfully follows this tension, moving between the broad strokes which sketch an imaginary global citizen (at least, an imaginary product of a nar- row set of offered choices, opinions, and affiliations), and a citizen for whom broadly constructed categories of identity may never (or could never) apply.
Whoever a global citizen might be, most of us would agree: freedom of movement is en- demic to their self-perception. (The mere ability to respond to a poll, signaling some degree of enfranchisement, might be another indicator.) What "Most Of Us Are #2" states is true: most of us have "never been to Nauru." But the tiny state in Oceania is a microcosm for the global forces that shape our opinions and affiliations, as well as our seemingly immutable identifying data. Nauru is like many other parts of the globe in its history of colonization, military base use, ecological devastation due to phosphorous mining, turning the island into a hollow shell rimmed by coconut palms: an invasive species that has wiped out any remaining indigenous flora. With its natural resources depleted, and its one-time economic boom turned to seemingly permanent bust, the Nauruan government instituted liberal banking policies, becoming an easy access point for international money-laundering operations. Most recently, Nauru has entered into the rapidly expanding business of offshore refugee detention, partnering with the Australian government to keep asylum seekers, including children, in conditions of imprisonment lasting years: an indefi- nite "processing" aimed to quell anti-immigrant sentiment. Residents of similar places in the world, in which neither practical national citizenship nor any sense of global affinity are able to exist, are growing.
With this in mind, perhaps the better question is not who is the global citizen, but where is the global citizen? Or rather, where and how does this idea exist? According to a recent poll by GlobeScan, citizens of emerging economies, including China, Peru, and India, are most likely to identify as citizens of the world-more strongly than their sense of belonging to their own country. But, perhaps unsurprisingly among citizens of Germany, the US, and Russia a sense of nationalism has been rising. "Most Of Us Are," deceptively simple in form, draws the faintest lines of the structures of power that construct our entire subjectivity. In this speculative space, a gentle call, a lyric appeal to look beyond a rapidly encroaching, perilous nativism.

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20. Lorraine O'Grady: SCAD Museum of Art, Savannah, GA, thru Jan. 13, 2019

Lorraine O'Grady: From Me to Them to Me Again
September 20, 2018 - January 13, 2019

Alexander Gray Associates is pleased to announce Lorraine O'Grady's solo exhibition From Me to Them to Me Again, curated by Storm Janse van Rensburg, at SCAD Museum of Art, Savannah, GA.

The institution's press release follows:

The SCAD Museum of Art presents an exhibition by Lorraine O'Grady, which brings together two major works in the artist's oeuvre. From Me to Them to Me Again showcases her single-channel video Landscape (Western Hemisphere) and a new series of haiku diptychs created by radically selecting and recombining individual panels from her earlier series of newspaper poems Cutting Out the New York Times, to achieve a totally new work in intellectual intention and aesthetic scope, published in 2017 as the large-scale editioned prints of her new series Cutting Out CONYT. The title of the exhibition references O'Grady's concern with the cyclical, interrogative way she revisits her own work in ongoing efforts to unlock new meaning and examine the relationship between the artist, her output, art institutions, and the public.

Text and language feature strongly in O'Grady's evolution from a young intelligence analyst for the departments of Labor and State during the Cuban Missile Crisis in 1962, to her careers in teaching, writing and artmaking. In her series Cutting Out CONYT, she observed that she embarked on the project "as a writer and ended it as an artist." To create the original series, O'Grady manipulated headings, words and phrases from The New York Times over 26 consecutive Sundays to create new poetic assemblages that reference Dada, Surrealism and concrete poetry. However, unlike the embrace of the irrational by the Dadas (whose work she was teaching at the time at the School of Visual Arts in New York), O'Grady strived for new meaning. Equally important in the later, more fully imagined series, Cutting Out CONYT, is the diptych as form, which brings two elements together to create ceaseless exchange. Conceptually for O'Grady, the diptych is a device for critique, where "there's no being saved, no before and after, no either/or; it's both/and, at the same time. With no resolution, you just have to stand there and deal."

Landscape (Western Hemisphere) is a richly textured, black- and- white in color film that closely traces the artist's hair moving and shifting, and is set to a changing, subtle soundscape of the outside world. The film is a metaphoric, contemplative work, which invokes more than it describes or prescribes. The geographical reference of the title contrasts the vastness of the land summoned and the intimacy and closeness of the camera to the artist's person. The camera is not neutral - it records, keeps what it sees, and is, therefore, a stratagem that allows for analysis and classification. O'Grady invites the viewer to search for clues within this abstracted closeup of her body.

The installation of From Me to Them to Me Again has been calibrated, like the diptych form itself, to create tensions and relationships between two distinct works in different genres produced more than two decades apart. They form bookends within the artist's oeuvre: separate, but related and dependent on each other. The structure of the diptych is a frequent motif in O'Grady's work and allows her to question apparent oppositions between her apparently different voice while maintaining their productive tensions. Siting her work in the interstitial space between personal and political, inner and outer, post-black and black, for O'Grady the two unusually beautiful works on exhibit here also bring into play her nuanced considerations of identity and the specter of race in the present. She has sometimes described herself as having been 'post-black' before she was 'black,' but more often considers blackness and post-blackness as oscillating states. Cutting Out CONYT and Landscape (Western Hemisphere) explore the shifts between these two states and many other shifts, in an attempt to undermine the predications of the art world and its attendant value systems, in addition to those of the larger world.

Alexander Gray Associates
Alexander Gray Associates is a contemporary art gallery in New York. Through exhibitions, research, and artist representation, the Gallery spotlights artistic movements and artists who emerged in the mid- to late-Twentieth Century. Influential in cultural, social, and political spheres, these artists are notable for creating work that crosses geographic borders, generational contexts and artistic disciplines. Alexander Gray Associates is a member of the Art Dealers Association of America.

Press Inquires
press@alexandergray.com

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21. Jim Costanzo, Renee Cox, Alicia Grullón, Pablo Helguera, Martha Rosler, Chin Chih Yang, Javier Téllez, Raul Zamudio, FF Alumns, at White Box, Manhattan, thru Oct. 13

WhiteBox Presents:
WHITE ANXIETIES

Curated by Raul Zamudio and Juan Puntes with Peter Wayne Lewis
September 21 - October 13, 2018

Since the twenty-first century, the U.S. seems to be in a state of accelerated social transformation and this has been cause for alarm for many conservative, White Americans. One of the most notable benchmarks of these changes is Barack Obama's election as America's first African-American president. Researchers also predict that in the coming decades, Latinos/Hispanics will be the largest demographic in the U.S. superseding the current White majority. Other communities that have been historically marginalized and now ostensibly asserting their rights including LGBTQ+, have added to the perception that we are living in a different America than in the past. Another phenomenon altering the American social landscape is the influx of immigrants that some construe as potentially usurping the purported dominant culture and its traditions. Even Donald Trump's campaign slogan of Make America Great Again, subliminally harks back to a reactive era of intolerance and exclusivity.

White Anxieties is a mixed media, international group exhibition that takes the pulse of what haunts the conservative, American psyche. That is, an anxiety-inducing America that is less white, heterosexual, and male, and where other languages than English are spoken and where People of Color can openly express their cultural traditions without accusations of not being "real" Americans. Some works in the exhibition, for example, address the dismantling of Confederate monuments, the problematics of assimilation, and xenophobia's prevalence while others target the most disturbing manifestation of American socio-political regression and of an America historically unresolved: David Duke and acolytes who run for political office while attempting to normalize their racial supremacist ideology.

Participating artists include:
Martha Rosler, Kendell Geers, Renee Cox, Louise Fishman, Thomas Vu and Rirkrit Tiravinija, Avelino Sala, Robert Boyd, Vaimoana (Moana) Niumeitolu, Federico Solmi, Tania Candiani, Joaquin Segura, Kyle Goen, Lorenzo Pace, Patrick Hamilton, Jelena Tomasevic, Laurie Arbeiter, Jean Pierre Muller, Shahpour Pouyan, Richard Humann, Pablo Helguera, Jean Pierre Muller, Rinstil Gem, Simone Mattar, Alicia Grullon, Jordan Eagles, Charlee Swanson, Oscar Gardea, Isaac Aden, Elan Jurado, Amy Stoker, Wojtek Ulrich, Alberto Borea, Stefano Cagol, Chin-Chih Yang, Eric Ramos Guerrero, Duke Riley,Courtney Smith and Iván Navarro, Enrique Ježik, Arnaldo Morales, Sobel Uribe, Jim Costanzo, Bradley McCallum, Jack Toolin, Joseph DeLappe, Paris 68Redux, Martin Durazo, Oreet Ashery, Mehran Tizkar, S&P STANIKAS, Alexander Kosolapov, Sol Sax, Javier Tellez, Claudia Baez, Julia San Martin, and Braco Dimitrijevic, and Damian Ontiveros.

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Goings On is compiled weekly by Harley Spiller