Goings On: posted week of June 19, 2018
CONTENTS:
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1. Franklin Furnace Archive selected as one recipient of inaugural Jerome Foundation Organization Grants Program , Franklin Furnace Archive selected as one recipient of inaugural Jerome Foundation Organization Grants Program
2. Micki Spiller, FF Alumn, on Governors Island, NY thru June 24
3. Frank Moore, FF Alumn, at BAMPFA, Berkeley, CA, June 30
4. Jay Critchley, FF Alumn, in Orlando,FL, now online
5. Mark Bloch, FF Alumn, in the Brooklyn Rail, now online
6. Ed Ruscha, FF Alumn, at Ikon Ltd., Santa Monica, CA, thru Aug. 25
7. Linda Stein, FF Member, at Studio Channel Islands, Camarillo, CA, thru June 30
8. Tamar Ettun, FF Alumn, at The Fields, Ghent, NY, thru Aug. 19
9. Julia Scher, FF Alumn, at Galerie DREI, Cologne, Germany, thru Aug. 28
10. Peter Cramer, Jack Water, FF Alumns, at Le Petit Versailles, Manhattan, June 21
11. Lynn Cazabon, FF Alumn, at Wave Hill, The Bronx, NY, July 1-Aug. 26
13. Zackary Drucker, FF Alumn, summer events
14. Georgia Lale, FF Alumn, at 47-08 31st Avenue, Long Island City, Queens, June 22
15. Blue Man Group, FF Alumns, in The New York Times, June 15
16. Doug Skinner, FF Alumn, releases new book
17. Mierle Laderman Ukeles, FF Alumn, at The 8th Floor, Manhattan, June 21
18. Paul Zelevansky, FF Alumn, now online at https://vimeo.com/275070408
19. Gabrielle Hamilton, FF Alumn, in The New York Times, June 13
20. Eleanor Antin, Cassils, Nancy Chunn, Mierle Laderman Ukeles, Hannah Wilke, FF Alumns, at Ronald Feldman Gallery, Manhattan, thru Aug. 31
21. Alina Bliumis, FF Alumn, London, UK, at Pushkin House, opening June 21
22. Danny Tisdale, FF Alumn, launches new website https://tisdalestudio.wordpress.com/
23. Ken Butler, FF Alumn, at Pete’s Candy Store, Brooklyn, NY, June 26
24. Ken Butler, Terry Dame, FF Alumns, at Cabernet Frank’s, Parksville, NY, July 21
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1. Franklin Furnace Archive selected as one recipient of inaugural Jerome Foundation Organization Grants Program
Inaugural Recipients of the Organization Grants Program
84 Grants Totaling $4,159,500 to Arts Organizations
In its 54th year of grantmaking, the Jerome Foundation is proud to announce the inaugural recipients of its Organization Grants Program.
The Organization Grants Program supports nonprofit arts organizations based in the state of Minnesota and the five boroughs of New York City across artistic disciplines that offer programs for research, development and production of new work by early career vocational artists. Franklin Furnace Archive, Brooklyn, New York, received a two-year grant of $60,000 for the Franklin Furnace Fund, a program serving ten to twenty early career artists from New York City or Minnesota selected by peer panel review for year-long grants to produce new major works of performance art in NewYork.
Highpoint Center for Printmaking
Through an open call, the Foundation received 254 preliminary applications requesting $17 million for either one or two years of support, and invited 117 full applications. Full applications were assessed by separate discipline-specific peer panels composed of leaders in the field from Minnesota and New York. This marks the first time in memory the Foundation worked with peer panels to determine its organizational grants roster.
Jerome Foundation President Ben Cameron said, “This is a wonderful cohort of arts organizations offering important programs and services for early career artists. Our only regret is that the limits of our resources did not allow us to fund every program of merit.” Program Director Eleanor Savage added, “The Foundation is grateful to the artists and arts leaders that served on the selection panels for sharing their experience and strategies for supporting early career artists. The review process was excruciatingly competitive.”
DANCE
$645,500 to 14 organizations
Abrons Arts Center (fiscal sponsor Henry Street Settlement)
Brooklyn Arts Exchange (BAX)
The Chocolate Factory Theater
Danspace Project
Gibney Dance
Harlem Stage (Aaron Davis Hall)
James Sewell Ballet
The Kitchen
Momentum: New Dance Works (fiscal sponsor St. Catherine University)
Movement Research
Pepatián-BAAD!
Performance Space New York (formerly PS 122)
STREB Inc.
Zenon Dance Company
LITERATURE
$537,500 to 12 organizations
Asian American Writers’ Workshop
Cave Canem
Center for Fiction
Coffee House Press
Community of Literary Magazines and Presses (CLMP)
Four Way Books
Graywolf Press
Kundiman
The Loft Literary Center
Milkweed Editions
Poetry Project
Poets House
MEDIA, including FILM/VIDEO
$272,000 to 5 organizations
Bronx Documentary Center
Harvestworks
Northern Lights.mn
Rhizome
St. Paul Neighborhood Network (SPNN)
MUSIC
$566,500 to 8 organizations
American Composers Forum
The Cedar Cultural Center
ETHEL’s Foundation for the Arts
International Contemporary Ensemble (ICE)
Jazz Gallery
Roulette Intermedium
VocalEssence
Zeitgeist
THEATER, PERFORMANCE & SPOKEN WORD
$983,000 to 22 organizations
Dixon Place
Ensemble Studio Theatre
HERE
In the Heart of the Beast Puppet and Mask Theatre (HOBT)
The Lark
Ma-Yi Theater Company
Mabou Mines
Mixed Blood Theatre Company
Monkeybear’s Harmolodic Workshop (fiscal sponsor Springboard for the Arts)
National Black Theatre
Nautilus Music-Theater
New Dramatists
New York Theatre Workshop
Pangea World Theater
Penumbra Theatre
Pillsbury House Theatre
Playwrights Horizons
Playwrights’ Center
The Public Theater
Soho Rep
Theater Mu
Tofte Lake Center
VISUAL ARTS
$1,155,000 to 23 organizations
Anderson Center
Baxter Street/Camera Club of New York
Bronx Museum of the Arts
Forecast Public Art
Franconia Sculpture Park
Franklin Furnace
Jamaica Center for Arts & Learning (JCAL)
Lanesboro Arts
The Laundromat Project
Lower Manhattan Cultural Council (LMCC)
Minneapolis College of Art and Design (MCAD)
Minnesota Center for Book Arts (MCBA)
Northern Clay Center
PARTICIPANT INC
Printed Matter,
The Queens Museum
Saint John’s Pottery (fiscal sponsor St. John’s University)
Smack Mellon Studios
Socrates Sculpture Park
Studio Museum in Harlem
Textile Center
VSA Minnesota
PHILANTHROPIC SERVICE ORGANIZATIONS, NATIONAL SERVICE ORGANIZATION CONVENING & RESEARCH INITIATIVES
Jerome also offers a small funding program for philanthropic service organizations, national service organization convenings, or research initiatives that benefit arts grantmakers or artists, collectives or ensembles in Minnesota or New York City, where the following grants were made.
$42,500 to 4 organizations
Americans for the Arts
ArtChangeUS (fiscal sponsor NEO Philanthropy)
Foundation Center
Grantmakers in the Arts
We will be unveiling our new website (featuring our new branding), later this month at www.jeromefdn.org.
(c) 2018 Jerome Foundation.
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2. Micki Spiller, FF Alumn, on Governors Island, NY thru June 24
Please visit these links:
https://www.worksonwater.org/governors-island/
and
https://www.worksonwater.org/summerresidency/
incubator residency through June 24th
thank you.
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3. Frank Moore, FF Alumn, at BAMPFA, Berkeley, CA, June 30
Frank Moore, FF Alumn, in “Way Bay Days” at BAMPFA, Berkeley, June 30
Filmmaker Keith Wilson will discuss the life and art of shaman, performance artist Frank Moore (1946-2013) as part of “Way Bay Days”, the third in a series of programs put on by the UC Berkeley Art Museum and Pacific Film Archive (BAMPFA), pairing five presenters with five different artists. This presentation is part of BAMPFA’s summer exhibition of Bay Area art, “Way Bay 2”, in which Moore’s artwork is included. “Way Bay Days” is on June 30, 2018, at 1:30 pm at BAMPFA. See https://bampfa.org/event/way-bay-days-tom-di-maria-sandra-phillips-keith-wilson-brett-goodroad-terry-cannon for more information.
From the website:
Keith Wilson is a San Francisco-based filmmaker and visual artist who has exhibited at the Sundance Film Festival, South by Southwest, the Berlinale Film Festival, and the National Gallery of Art. Wilson will discuss the artist, filmmaker, actor, and musician Frank Moore, about whom he is currently producing a documentary and virtual reality project, Deep Inside the Shaman’s Den. On Moore’s life and work, Wilson comments: “There’s something helpful, even transformative, to be learned by looking closer, longer, and with more openness at Frank Moore the wounded shaman.”
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4. Jay Critchley, FF Alumn, in Orlando,FL, now online
It was an honor to be invited to Orlando to install Prayer Ribbons from Provincetown to commemorate the second anniversary of the Pulse nightclub massacre. Jay
http://www.orlandosentinel.com/news/pulse-orlando-nightclub-shooting/os-city-hall-pulse-ribbons-20180608-story.html
Pulse Prayer Ribbons return to Orlando City Hall
By Ryan Gillespie, Orlando Sentinel, June 11, 2018
More than 3,000 prayer ribbons will sway with the breeze this week outside of Orlando City Hall, with 50 of them honoring victims of the Pulse nightclub shooting.
Jay Critchley, the founder of the Massachusetts-based nonprofit Provincetown Community Compact, installed the strand of ribbons Monday, stringing the colorful strands across three palms in the courtyard.
In November 2016, the prayer ribbons were posted at Leu Gardens and later moved to City Hall.
“People can come by and read the names and they’ll be fluttering in the breeze and they’ll provide a visual presence for the week,” Critchley said. “It was a celebratory and a solemn message for people. It was a healing message. The colors provide a visual way for people to come together.”
Forty-nine black ribbons are intermingled with others in the swaying row with each victim’s name written in gold. Another black ribbon was dedicated to the dozens injured in the June 12, 2016 attack.
The ribbons will be displayed until June 17 and are open for public viewing.
The other ribbons are shades of yellow, red, blue, white and green.
After the Pulse attack, the nonprofit had a ceremony in Provincetown, Mass., where each victim’s name was read and the ribbon was announced.
Last month, Orlando Mayor Buddy Dyer sent the Compact a letter inviting the group back for the second-year mark of the tragedy.
“The prayer ribbons were another reminder for our residents that communities around the nation were standing with us during a difficult time,” Dyer wrote. “Having the prayer ribbons return to Orlando would help our city continue the healing process and provide another way to celebrate the unity of our community and inclusive communities like Provincetown.”
Critchley said the strand was first created in Provincetown in 1993 as a visual witness to an annual event the nonprofit hosts to raise money for AIDS.
The ribbons were meant as a sign of the impact AIDS had on the Provincetown community, as well as “the courage of the town to fight governmental indifference and symbolize the model supportive community that responded,” according to the Compact’s website.
Not all of the victims honor somebody who has died, others have uplifting messages for caregivers.
“It isn’t just people who have died, but people you want to honor,” Critchley said.
Jay Critchley
Founder & Director
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5. Mark Bloch, FF Alumn, in the Brooklyn Rail, now online
Please visit the complete illustrated article linked here
https://brooklynrail.org/2018/06/artseen/Gutai-19531959
by Mark Bloch
This show unwraps the early years (1953 – 1959) of Japan’s influential post-war avant-garde art collective, Gutai, with a tale of innovation that presents prescient pre-Pop and pre-performance captured in its earliest moments. By spotlighting shocking intentions and notions about what art could be-as earthy, breathtaking manifestations in two and three dimensions-Fergus McCaffrey has managed to encapsulate one of the first periods when art as concept, art as gesture, and art as Game theory became one. Though Gutai lasted until 1972 when its leader’s sudden death brought a halt to the activity, it was these early years that anticipated much of what followed in Happenings, Fluxus, Minimalism, and Performance.
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6. Ed Ruscha, FF Alumn, at Ikon Ltd., Santa Monica, CA, thru Aug. 25
We are now located in gallery D3.
Kind of Blue
Featuring works by Ed Ruscha
thru August 25, 2018
Ikon Ltd.
Bergamot Station, Gallery D3
2525 Michigan Ave.
Santa Monica, CA 90404
(310) 828-6629
http://ikonltd.com/
http://instagram.com/ikonltd/
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7. Linda Stein, FF Member, at Studio Channel Islands, Camarillo, CA, thru June 30
Linda Stein has a solo exhibition called Fluidity of Gender at Studio Channel Islands, 2222 E Ventura Boulevard, Camarillo, CA 93010. This exhibition is free and ends June 30, 2018.
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8. Tamar Ettun, FF Alumn, at The Fields, Ghent, NY, thru Aug. 19
Concurrent openings will inaugurate works new to The Fields by Tamar Ettun, Rachel Hayes, Lonnie Holley, Sara Greenberger Rafferty, and Nari Ward. Tour the newly installed works with Curator Nicole Hayes and the artists. The tour begins at 2 p.m. at the Benenson Visitors Center. Throughout the afternoon, Art Omi: Education activates the Education Pavilions with a collaborative Block Party. All are invited to experiment and build with wooden planks culminating in a day-long installation. Food and drink will be available all day from the café. Fields Opening Day is free and open to all.
http://www.artomi.org/exhibitions/tamar-ettun-blue-inflatable
Copyright (c) 2018 Art Omi, All rights reserved.
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Our mailing address is:
Art Omi
1405 County Route 22
Ghent, NY 12075-3809
Art Omi is a not-for-profit arts organization with residency programs for international artists, writers, translators, musicians, architects and dancers. Art Omi believes that exposure to internationally diverse creative voices fosters tolerance and respect, raises awareness, inspires innovation, and ignites change. By forming community with creative expression as its common denominator, Omi creates a sanctuary for the artistic community and the public to affirm the transformative quality of art.
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9. Julia Scher, FF Alumn, at Galerie DREI, Cologne, Germany, thru Aug. 28
julia scher at galerie DREI January 29 Cologne Germany thru August 28,
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10. Peter Cramer, Jack Water, FF Alumns, at Le Petit Versailles, Manhattan, June 21
mike cacciatore, peter cramer and jack waters are NYOBS performing a music concert at (4pm) on June 21 as part of Make Music NYC at Le Petit Versailles.247 east 2nd st btween ave. b & c.
Also part of the evening includes (6pm.) bobby g’s boombox blast of new wave and hip hop of the 80’s. Final concert (8-9pm)is mark street and the lost orchestra with live film, video and musicians.
http://alliedproductions.org/june-21-make-music-ny-nyobs-dj-bobby-gee-mark-street-and-the-lost-orchestra/
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11. Lynn Cazabon, FF Alumn, at Wave Hill, The Bronx, NY, July 1-Aug. 26
Lynn Cazabon’s virtual reality project Ecomimesis will be featured in exhibition Hustle at the Science Gallery Lab Detroit, June 16 – Aug 25, 2018. Ecomimesis explores the exhibition theme of ‘hustle’ by drawing attention to its evolutionary underpinnings as a strategy for survival for a common urban plant species.
Portions of a recent iteration of Cazabon’s Uncultivated, done during her time as recipient of a South Bronx Resiliency Arts Fellowship, will be shown in the exhibition Ecological Consciousness: Artist as Instigator at Wave Hill, Bronx, NY, July 1 – Aug 26, 2018.
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12. RT Livingston, FF Alumn, at Santa Barbara Tennis Club, CA, thru July 6
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 years 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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13. Zackary Drucker, FF Alumn, summer events
HELLO WORLD,
It’s Zackary Drucker calling. I’ve missed you terribly — every minute of every hour of every day since we last spoke.
I have a new film coming out this week and a whole lot of screenings and events in the coming weeks. I sincerely hope to see you very soon.
Sending LOVE, as ever, Z
SCREENINGS
Outfest 2018, Los Angeles, Harmony Gold Theater – July 14, 7:30pm
Digital Premiere, them.us, 6/21 – EVERYONE can watch!
Mother Comes to Venus paints a sassy Hollywood landscape for the near future. In a post-gender Hollywood she helped create, powerhouse agent Venus Allen is besieged by unexpected events and demanding visitors. Blinded by success and in danger of losing her soul, Venus gets help from an unlikely source, her delightfully spiritual “mother.”
Hallelujah! Ron Athey: A Story of Deliverance
Screening & Q+A, Hammer Museum Billy Wilder Theater, Los Angeles – June 22, 7pm
Honored to be hosting this screening and moderating a conversation with my Papa Ron & legendary documentary film maker Catherine Gund!
Hard to look at: Favorites & Rarities by Zackary Drucker
Dirty Looks: On Location, REDCAT, Los Angeles – July 8, 3pm
This is my FIRST EVER survey of short films and performances from the past 12 years. “Hard to Look At ” succinctly describes my feelings about it, but I’m so excited for the experience. Curated by Darin Klein for DIRTY LOOKS: ON LOCATION.
At Least You Know You Exist
Desires and Resistance: Unearthing Trans* Legacies, Outfest 2018, REDCAT, Los Angeles – July 15, 4:30pm
Amongst a trove of treasures, my grandma Flawless Sabrina and I ruminate on gender, drag, and resistance.
Coven (live performance)
Ain’t I a Womxn? A Genders Promenade, LA State Historic Park – July 28, 8pm-11pm
Come slip into a dimensional rift with me and my coven for a full moon ritual. Bring nylons.
Copyright (c) 2018 Zackary Drucker, All rights reserved.
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14. Georgia Lale, FF Alumn, at 47-08 31st Avenue, Long Island City, Queens, June 22
Dear friends,
I’m more that thrilled to announce that I will perform my piece “GENETIC MEMORIES” at
It’s Bedtime Somewhere 2018 – House of Performance Event organized and curated by Pei-Ling Ho and Cai-Jhen Jhu.
A performance evening where you will be able to enjoy the work of great artists such as
Hera HaeSoo Kim, Kara Hearn, Pei-Ling Ho with Shannon Michelle Stovall , Jaguar Mary and myself .
It’s Bedtime Somewhere
House of Performance Event
Friday, June 22, 2018
8:00 – 10:30 PM
47-08 31st Avenue, Apt 3E, Long Island City
It’s Bedtime Somewhere, the House Performance Art Event in NYC (June 22. 2018), invites the public to one night only of Live Action Art between domestic and psychological interiors. Featured artists: Georgia Lale (Greece), Hera HaeSoo Kim (Korea), Kara Hearn (United States), Pei-Ling Ho (Taiwan) with Shannon Michelle Stovall (United States), and Jaguar Mary.
It’s Bedtime Somewhere is a live performance event which explores issues of family, childhood, dreams and healing through ritual and sensory experiences. Presented by performance artists based in NY, this event will highlight shared emotions and participatory practices. It’s Bedtime Somewhere aims to explore in depth intimate relationships, through body, sound, interaction, movement and food.
This event, organized and curated independently by interdisciplinary artist Pei-Ling Ho and composer Cai-Jhen Jhu. Pei-Ling focuses on works that explore themes of “East/West” and “self/other” within the contemporary context of global feminism. Cai-Jhen explores different soundscapes and is interested in all kinds of artistic collaborations. The event will feature performance art works on one-on-one or participatory performance and interaction.
Biographies:
Georgia Lale (Greece) is a Greek visual and performance artist with Turkish heritage, based in New York City. She was born in Greece and graduated from the Athens School of Fine Arts. In 2016 she completed her MFA Fine Arts program at the School of Visual Arts in New York. She is the recipient of several awards and fellowships of excellence. Georgia developed a performance art project entitled #OrangeVest that seeks to confront the refugee crisis in Europe. These public space interventions were performed at di erent sites in New York and other US cities, and most recently in Brussels, where a group of refugee artists was involved in the project. This work was also presented in the Greek Pavillion at 15th Venice Architecture Biennale.
Hera HaeSoo Kim (Korea) is an artist living and working in New York City and Seoul. Hera graduated from Hongik University in 2013 with her MFA in Sculpture and completed with a Ph.D in Fine Arts. She is pursuing her MFA in Fine Arts at the School of Visual Arts in New York. She spends as much of her time in various teaching engagements when not working on her art.
Kara Hearn (United States) is an interdisciplinary artist. Her work has been screened, exhibited, and performed nationally and internationally at venues such as MoMA, SFMOMA, Bluecoat Gallery, DiverseWorks, New Orleans Museum of Art, Yerba Buena Center for the Arts, White Columns, Berkeley Art Museum, Pacific Film Archive, Walker Art Center, Antimatter [media art] Festival, and the Dallas Medianale. Hearn was a fellow in the Core Program in Houston, TX and has completed residencies at Recess and EFA Project Space in New York City. She was featured in the book Double Act: Art and Comedy by David Campbell and Mark Durden in 2016. Born in Oklahoma, Hearn currently lives and works in Brooklyn, NY.
Pei-Ling Ho (Taiwan) is an interdisciplinary artist. She is studying in School of Visual Arts with an MFA in Fine Arts. Through performance, video, photography and mixed media, PEI-LING explores questions of gender identity and perception within various contexts, ranging from the con ict between exotic and local culture and the legitimacy of parents under social system, and drawing from her experience growing up in Taiwan. She has had group exhibitions include SATELLITE ART SHOW in Miami, ITINERANT: the annual Performance Art Festival in NY, 29th Festival Les Instants Vidéo in France, CONTEMPORARY VENICE – ITSLIQUID International Art Show in Italy and more. PEI-LING currently lives in Queens, New York. (Right in the photo)
Shannon Michelle Stovall (United States) was born in San Diego, California and resided in San Francisco for nearly a decade. Graduate of San Francisco Art Institute with a BFA in Painting and a current MFA Candidate at School of Visual Arts, she additionally studied abroad at the Glasgow School of Art in Glasgow, Scotland. Her practice is an exploration of the culturally constructed notion of gender and the strange personas we create in order to navigate and make sense of our identities. She questions our collectively nuanced and complex ideas of selfhood through performance, photography, video and painting. She has performed live at CP Project Space in NY, and had group shows at SVA’s Flatiron Gallery in New York, Book & Job Gallery in San Francisco, and En Em Art Space in Sacramento. Shannon Stovall currently lives in Manhattan, New York. (Left in the photo)
Jaguar Mary is a performance artist, glossolalia vocalist, filmmaker and hoop dancer. Her specific concerns, and the directives that have driven her art practice, engage black feminist discourse, questions of history, and now, ritual performance and practice in art as tools to help us out of our world crisis. Jaguar Mary aka Jocelyn Taylor is an alumni of the Whitney Independent Study Program and has shown internationally, at the Johannesburg and Havana Biennials, and in galleries in Venezuela, Canada, France, the Netherlands and Dietch Projects in New York. She’s also collaborated with feminist artists Annie Sprinkle, Yvonne Rainer, Cheryl Dunye and others.
RSVP | Space is limited
https://www.addevent.com/event/Le1303089
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15. Blue Man Group, FF Alumns, in The New York Times, June 15
Please visit the complete illustrated article linked here (text only follows below):
The New York Times
Blue Man Group to Pay More Than $3 Million to End Royalty Dispute
by Colin Moynihan
June 15, 2018
Ian Pai always felt, he said, that he had played a core role in the success of Blue Man Group, an avant-garde performance ensemble whose members appear as bright blue characters and use unorthodox instruments to create raw percussive music.
He had worked with the ensemble in its early days, he said, serving as its music director for shows in several cities and helping to compose some of its music, build sets and create the group’s distinctive instruments, constructed from PVC pipe.
But years after the group’s ascendance, which included an Off Broadway run of more than 20 years, a Grammy-nominated album and annual revenue often estimated at $100 million, Mr. Pai said he had determined that the payments he was receiving for what he termed his contributions of “musical compositions and creative work” were not what he deserved.
So he sued in 2016, saying he felt betrayed by the group’s founders.
Court records indicate that the suit has now been settled with an agreement in which Blue Man Group will pay Mr. Pai more than $3 million to resolve his claims. As is common in lawsuit settlements, neither side would discuss the specific monetary figure or other terms of the agreement that was reached in April to end the case in New York State Supreme Court.
A reference to the rough size of the payout was included in a separate lawsuit filed by Blue Man Group against its insurance company, Ironshore Indemnity, in an effort to force the company to contribute to the settlement.
In his suit, Mr. Pai had initially sought $150 million in both punitive and compensatory damages. The court dismissed some of his initial claims, but the case ended quickly after Mr. Pai took the stand to testify.
In response to a request for a comment, Blue Man Group’s lawyer, Toby Butterfield, said Friday it was “happy to fully and finally resolve Mr. Pai’s claims, which Blue Man Group disputed both factually and legally from the outset.”
Mr. Pai’s lawyer, Robert D. Piliero, also reacted favorably to the outcome.
“Ian got to tell his story as the plaintiff,” he said Friday. “The defendants, Blue Men, made an offer we could not refuse.”
Blue Man Group achieved wide renown as a cultural institution and a global brand beginning in the 1980s when the concept was hatched on Manhattan’s Lower East Side. The group’s success in New York spawned shows in multiple cities, appearances on “The Simpsons” and wax figure likenesses at Madame Tussauds in Times Square.
Compared by one critic to “benevolent aliens – perplexed, faintly anxious and deliriously fond of making both music and a mess,” Blue Man Group came to be regarded as a must-see for tourists and a symbol of New York, perhaps not quite on the order of the Circle Line or the Rockettes, but a bit hipper.
The group was formed by three friends – Matt Goldman, Phil Stanton and Chris Wink – who came up with an idea for a surreal performance. They began short sets with homemade props at alternative spaces downtown, got their first reviews when they played at La MaMa and in 1991 moved to their permanent home, the Astor Place Theater on Lafayette Street, where they still perform today.
For three years, the original trio were the only Blue Men, performing six days a week. But wanting to expand to other cities, they began training other men (and a few women) for the job. So far there have been more than 100. And cities like Las Vegas, Orlando, Boston and Chicago have permanent Blue Man Group productions.
The group’s New York real estate holdings include the building that houses its theater, a rehearsal space and video editing suite, and a recording studio and instrument creation lab.
Mr. Pai, whose lawsuit identified him as a painter, a classically trained pianist and a dancer who had performed at Lincoln Center, was closely associated with members of Blue Man Group in its early days. He said that he helped compose many of the show’s wordless songs and came to view the original members as friends, joining them on vacations and attending one of their weddings.
Although he had received hundreds of thousands of dollars in royalties over the years, he said he discovered in 2014 that he had been paid an amount, 1 percent of the box office, that was far below the industry standard for what he viewed as his level of contributions.
Though the specific monetary figure has not been revealed, Blue Man Group said in its court papers in the separate insurance case that it had agreed to pay “an amount greater than the policy limits of $3,000,000.”
The insurance case is continuing. Blue Man Group argues in its complaint that its insurer, Ironshore, initially would not extend coverage, saying that Mr. Pai’s suit echoed claims he had made in a 2014 letter that had not been reported to the insurance company at the time.
Later, the insurer agreed to pick up 70 percent of the cost of Blue Man Group’s defense, but only a small portion of the settlement figures under discussion at the time.
A lawyer for the insurance company did not respond to a request for comment.
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16. Doug Skinner, FF Alumn, releases new book
“No Bile!” is now available from Black Scat Books! This is my 8th translation of the peerless French proto-dadaist Alphonse Allais (1854-1905). This collection of what he called his “anthumous works”
includes love stories, revenge stories, short-shorts, and unclassifiable prose, all affronting the reader with startlingly modern black humor, imagination, and wordplay. Among the highlights are “Absinthes,” an internal monologue about the effects of the Green Fairy; “Poor Cesarine!”, a grisly tale of obsessive love; and “A Good Society,” which proposes collecting used matches for the poor. Translated, annotated, and illustrated by Doug Skinner. With six extra stories! Available from blackscatbooks(dot)com or Amazon.
I also note “Black Scat Books: A Bibliography,” compiled by Grace Murray, and published by JEF Books (The Journal of Experimental Fiction). Black Scat has been going now for six years, under the editorship of the intrepid Derek Pell (aka Norman Conquest), out in the wilds of California. Available from experimentalfiction(dot)com or from Amazon.
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17. Mierle Laderman Ukeles, FF Alumn, at The 8th Floor, Manhattan, June 21
Please Join Us for the Opening of
Sedimentations: Assemblage as Social Repair
Thursday, June 21
from 6 to 8pm
The 8th Floor, 17 W. 17th St.
(between 5th and 6th Aves.)
RSVP
https://events.r20.constantcontact.com/register/eventReg?oeidk=a07efear3ge2c2c9d2b&oseq=&c=&ch=
Sedimentations: Assemblage as Social Repair, on view at The 8th Floor from June
21 through December 8, 2018, is a new exhibition featuring artists who employ
strategies of reuse in their practices. The show will include 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. Artworks in the exhibition are embedded with content such as cultural heritage and preservation, technological obsolescence, spiritual engagement, sustainable ecology, the impacts of gun culture on the environment, and more generally, social responsibility, using artifacts of human existence to reinterpret the cycles of creation, consumption, and waste.
For more information on the exhibition and to read a full press release, please click here.
The 8th Floor, 17 West 17th Street,
between 5th and 6th Avenues
RSVP Here
The Shelley & Donald Rubin Foundation is pleased to announce the first in a series of public programs in conjunction with Sedimentations: Assemblage as Social Repair. Artists Michael Kelly Williams and Roberto Visani will speak about their distinct approaches to working with found objects. Williams incorporates musical references and castoff materials imbued with spiritual energies, and Visani finds inspiration in the functional potential of traditional artwork that he has encountered during his long-term research on the global circulation of guns. The conversation will be moderated by the Foundation’s Executive and Artistic Director, Sara Reisman.
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18. Paul Zelevansky, FF Alumn, now online at https://vimeo.com/275070408
TO THE GREAT BLANKNESS MAILING LIST:
EMPIRICAL KNOWLEDGE2
The theory that all knowledge is derived
from sense experience.
PZ, June 2018
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19. Gabrielle Hamilton, FF Alumn, in The New York Times, June 13
Please visit the complete illustrated article linked here (text only follows below):
https://www.nytimes.com/2018/06/13/dining/gabrielle-hamilton-ken-friedman-spotted-pig.html
The New York Times
Gabrielle Hamilton Plans to Partner With Ken Friedman to Run the Spotted Pig
by Kim Severson and Julia Moskin
June 13, 2018
The chef Gabrielle Hamilton says she is joining with Ken Friedman, who has been accused of sexual harassment by women who worked at his restaurants, to run the Spotted Pig the West Village restaurant where much of the harassment is said to have taken place.
Ms. Hamilton, the chef and owner of Prune Restaurant, in the East Village, said in an interview on Wednesday that she was pursuing a partnership in which she and her wife, Ashley Merriman, would become chefs and co-owners of the Spotted Pig with Mr. Friedman.
“We don’t have a deal, but we’re going to make one,” Ms. Hamilton said. “We’re going to be chef-owners. We’re going to run the Pig.”
Mr. Friedman could not be reached directly, and a representative for him had no comment.
The announcement shocked many in the food business, who had not imagined that such a prominent female chef would collaborate with Mr. Friedman; his previous business partner, the chef April Bloomfield, announced a week ago that she had ended their relationship. On social media and in interviews, people said they were caught off guard by what they saw as Ms. Hamilton’s disregard for Mr. Friedman’s behavior.
“It’s shocking and disappointing news and a lot of women are upset, myself included,” said Kerry Diamond, editor of Cherry Bombe, a food magazine focused on women.
Jen Agg, a restaurant owner and writer in Toronto who has become an outspoken voice for women in the restaurant industry, wrote in an email: “It’s bonkers, but more important, it’s callous and self-serving. I was once a great admirer of Gabrielle, in an industry where there are so few women to look up to, but sadly, after paying closer attention the last few years, I’m shocked, but not surprised by this.”
The Atlanta chef Anne Quatrano, however, called Ms. Hamilton’s proposed deal “fantastic.”
“If anybody can turn that situation it would be her,” she said. “She’s got the backbone for it.”
Ms. Quatrano brushed off critics who think Ms. Hamilton should not be doing business with Mr. Friedman. “Sometimes you have to be in bed with the devil to control him,” she said.
Ms. Hamilton said that she was proud of the work environment she has built with Ms. Merriman at Prune – last month Ms. Hamilton won the James Beard Foundation’s top award, for the nation’s Outstanding Chef – and that they are eager to bring it to the Spotted Pig.
“Everyone gets so excited when José Andrés goes into these natural disasters and helps people,” Ms. Hamilton said, referring to the Spanish-American chef who received praise for his relief efforts in Puerto Rico after Hurricane Maria last fall. “They ought to be happy that these two women are going into a man-made disaster to help make things right.”
Ms. Hamilton was criticized extensively on social media for comparing her business decision to a humanitarian effort.
Women who worked at the Spotted Pig and left because of Mr. Friedman’s behavior said they were stunned by Ms. Hamilton’s move.
“It’s shocking and unfathomable why as a female chef, as a queer woman, Gabrielle would align herself with a sexual harasser and help bail this man out,” said Natalie Saibel, one of the two dozen employees who went on the record with their stories in a December report in The New York Times. A longtime server at the Spotted Pig, she was fired in 2015 after bringing a complaint against Mr. Friedman.
After the Times report was published, Mr. Friedman said that “some incidents were not as described, but apologized for behavior that “can accurately be described at times as abrasive, rude and frankly wrong.” He said he was stepping away from daily operations at the seven restaurants he owned with Ms. Bloomfield, including the Breslin Bar & Dining Room in Manhattan, Tosca Café in San Francisco and their flagship, the Spotted Pig.
On June 6, Ms. Bloomfield announced that they had ended their 14-year collaboration. She is taking over the Hearth & Hound in Los Angeles and Tosca Café, and will remain the chef at the Breslin and the John Dory Oyster Bar, both in the Ace Hotel in Midtown.
The Spotted Pig is the locus of some of the most serious accusations of sexual harassment and assault that have rocked the restaurant world in recent months. The New York Police Department is investigating a claim that the celebrity chef Mario Batali sexually assaulted a woman in the private party room on the restaurant’s third floor.
In the Times report, more than two dozen former employees of the Spotted Pig and other restaurants owned by Mr. Friedman and Ms. Bloomfield described an unusually sexualized and coercive work environment, which included text requests for naked pictures and forced kisses from Mr. Friedman, and groping and harassment from Mr. Batali and other customers.
Ms. Bloomfield has been criticized for not doing more to stop the behavior and protect workers. In announcing her split from Mr. Friedman, she said she was turning her focus to the welfare of her staff and building a company she could be proud of. Through a representative, she declined to comment on Ms. Hamilton’s move.
Ms. Hamilton opened Prune in 1999. She married Ms. Merriman in 2016, and at Prune the couple share the duties and title of chef. They will do so at the Spotted Pig as well, Ms. Hamilton said.
Ms. Hamilton, who is a contributor to The New York Times Magazine, said the Spotted Pig, an international culinary destination that has won a Michelin star, and its nearly 100 employees needed help in the wake of the accusations against Mr. Friedman.
She said she and Ms. Merriman view themselves as “exceptionally poised to be the leading edge of the paradigm shift,” and are not becoming partners with Mr. Friedman to offer him any kind of redemption.
Ms. Hamilton said her goal was to “honor and respect April’s magnificent work, to be one of the luckier things that ever happened to Ken Friedman, to be women in business of increasing power and to get paid for our impeccable work.”
The ending of Mr. Friedman and Ms. Bloomfield’s partnership can be compared to a divorce, Ms. Hamilton said. “We can follow that metaphor for a single beat further and say we are going to be the second marriage,” she said. “As everyone knows, it is a bittersweet truth. Everyone is a better spouse their second time around.”
Other chefs pushed back on that notion. “There are certain people that will never be great spouses,” said Jessica Koslow, the chef of Sgirl in Los Angeles.
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20. Eleanor Antin, Cassils, Nancy Chunn, Mierle Laderman Ukeles, Hannah Wilke, FF Alumns, at Ronald Feldman Gallery, Manhattan, thru Aug. 31
Reprise: Summer Show 2018
June 12 – August 31, 2018
Eleanor Antin, Cassils, Nancy Chunn, Eric Dyer, Margaret Harrison, Kelly Heaton, Kim Levin, Oakes Twins, Bruce Pearson, Jason Salavon, Federico Solmi, Diemut Strebe, Mierle Laderman Ukeles, Hannah Wilke, Gil Yefman
For its summer show, the Feldman Gallery will exhibit works by fifteen of its gallery artists from 1973 to 2018. Most of the artworks have been previously exhibited at the gallery. The exhibition provides the opportunity to view early work from a current perspective and to preview the direction of future projects. Incorporating themes of social engagement, the artists work in a variety of media.
A seminal work by Mierle Laderman Ukeles, Dressing to Go Out – Undressing to Go In (1973), which was commissioned initially for Lucy Lippard’s 1973 exhibition, C.7,500, and exhibited at the gallery in 1998, marks the original inspiration for the artist’s lifelong project, Maintenance Art Works. Photographs depict caring for the family, a subject subsequently broadened to the maintenance of cultural institutions, urban and social maintenance, and the artist’s interaction with the New York City Department of Sanitation as official unsalaried Artist in Residence since 1977.
Nancy Chunn is represented by works exploring the media’s role in contemporary American culture. The Land of the Stupid (2001) conveys the onslaught of breaking news stories during the presidential election of 2000 through an explosion of signs and symbols dropped over map fragments of Washington D.C., Miami, Tallahassee, Palm Beach, and Crawford, TX. Chicken Little Lock Up (2018), a collaboration with David McDevitt, is a 30-minute animated film that sees the eponymous paranoid fowl locked in prison with a melange of crooks, cultural icons gone bad, and dangerous batshit political crazies ripped from our nightmares.
Eleanor Antin, performance artist, film-maker, installation artist, conceptual artist and feminist artist who engages with history in her work, will exhibit a large-scale photograph Casting Call (2007), which depicts an elaborately-staged recreation of an imagined scene of Helen of Troy’s fragmented life. Friends of the artist in costume depict the dramatic scene. Antin writes: Helen of Troy was the most beautiful and dangerous woman in the history of western culture. Her story comes down to us from European literature’s founding epic…. But what do we know of her? After three thousand years of notoriety she remains strangely silent as the most beautiful and disastrous objectification of male anxiety and desire.
Hannah Wilke, whose feminist-themed work included photographs of her traditionally beautiful body, is represented by Intra-Venus Series Triptych (1992-1993), shot during the last two years of her life in collaboration with her husband Donald Goddard, and documenting the effects of lymphoma on her body. Twenty of the six-by-four color prints were exhibited posthumously at the gallery.
Jason Salavon, a new media artist, uses software of his own design to transform masses of data collected from the internet. Good and Evil (2012), archival inkjet prints and digital video, is a diptych consisting of pictures gathered through web image searches for the 100 most positive and negative words in the English language. Its colorful composition is a patterned collage of a seemingly infinite number of smaller than stamp size images.
Bruce Pearson, who makes multi-layered kaleidoscopic paintings on large, intricately carved Styrofoam panels, is represented by And Who Hasn’t Dreamed of Growing Up to Become a Princess 1 (2013). Pearson reconfigures the traditional painting surface to carve out nooks and crannies to imbed text and patterns that form the underlying structure of his paintings. The text is difficult to read and comments on our current culture.
Margaret Harrison, a British artist, whose sexually explicit images in the style of comic book heroes and pin ups address sexism and question the idea of fixed sexuality, is represented by the diptych, Shut the Fuck Up (2013), which was shown in her exhibition, On Reflection, at the gallery in 2015. Her first solo exhibition in London in 1971 was closed down by the police who said that they didn’t mind the images of the women but that the way she had depicted the men was disgusting.
Works by the Israeli artist, Gil Yefman, from his exhibition at the gallery in 2014, are Ladder of Bones (2010), comprising knitted bone sculptures, and Time Table (2014), a take on a pinup calendar, using key Nazi figures mixed with pornographic images. The artist challenges society’s traditional definitions of gender and deals with Germany’s dark past.
Shamanic Bee (2015) is a large-scale work on paper by Kelly Heaton. The drawing is based on an arresting vision of a honeybee that the artist experienced and perceived as a plea for help from nature. Also from her Pollination series are Weeds and C in which the artist juxtaposes a vitrine of hand-made wildflowers with a sculpture of an electronic device that is enlarged to appear strangely personified. Bees have souls; weeds are memorialized; people are electronic. Heaton provokes us to think about humanity’s impact on pollinators and the natural environment upon which we depend.
Diemut Strebe’s Invisible Man (2015) is an allusion to the photographer Jeff Wall’s homonymous work. The inside of a lightbox has been photographed with a high-resolution camera, each of the 4312 single LEDs/308 panels with each 14 LEDs, and mounted together. The arrangement of the digitally constructed image, which is extremely bright and illuminated by the large number of the LEDs underlying the print, relates to a spacetime model of the physicists Alan Guth and Sean Carroll who propose a model of spacetime that describes the origin of the universe as dependent from the observer, involving a symmetry of time and introducing two futures of which each forms the past of the other.
The critic Kim Levin, who was a painter for ten years before she became a well-known art critic, will exhibit Sahara VIII:Uranus (1967), from her series of North African Horsemen of the Sahara which, like all her series of paintings, contains an unstated theme of power. The painting was from a time when it was rare not only for artists to paint from photographs, but also controversial. The seemingly unfinished surface of the paintings reveals not only the texture of the primed linen, but also a conceptual structure that enhances the abstract reality.
On view is a print from Cassils’ Alchemic series (2017). The entire set of three was included in their solo exhibition Monumental at the gallery in 2017. Presented alongside Cassils’ sculpture PISSED, which contained 200 gallons of the artist urine collected in protest since the current administration overturned an Obama era order allowing trans teens to use their bathroom of choice, the Alchemic series display torqued metallic abstractions which gild and exalts self-determined trans embodiment. These photographs ask the questions: Whose bodies are valued and whose are deemed disposable? The series is a homage to Robert Mapplethorpe’s Male Nudes and Statuary series.
The Oakes Twins, who explore the intersection of art and perception, are represented by two of their panoramic concave drawings of real spaces, Winter Garden I and Winter Garden II, initial capture drawn 2011, hand-assembled multiple, 2018, which were exhibited at the gallery’s booth at the Armory Show in 2018. During the show, the artists were present on a platform to capture the moving visitors above and to engage with them in the booth below.
Two interactive wall-hung sculptures from 2018 by Eric Dyer, originally exhibited at the gallery in the winter of 2018, return for this summer show: S.P.0. (short for Sausage, Peppers, and Onions) and A Temporal Comparison of Apples vs. Oranges. When the sculpture is spun, a strobe is activated, and the artwork comes to life, animating the still images on its surface for a fully immersive experience of pulsating kaleidoscopic images.
The exhibition introduces Federico Solmi as a new gallery artist following his inclusion in the group show Art on the Front Lines in 2017. On view are two video painting animation loops: The Great Expedition (2017) and The Gracious Conquistadors (2016 – 2018). Solmi uses bright colors and a satirical aesthetic to portray a dystopian vision of our present-day society. His videos are extravagant, rowdy, ironic, and over the top.
Opening reception: Wednesday, June 13, 6-8.
Gallery hours are Tuesday – Saturday, 10-6.
Monday by appointment.
Facebook event: Here
Gallery Hours: Tuesday to Saturday, 10:00 – 6:00, Monday by appointment
July and August: Monday to Thursday, 10:00 – 6:00. Friday, 10:00 – 3:00. Closed Saturday, June 30 & Wednesday, July 4
For more information, contact Megan Paetzhold at (212) 226-3232 or megan@feldmangallery.com.
Ronald Feldman Gallery
31 Mercer St New York, NY 10013
www.feldmangallery.com
212.226.3232
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21. Alina Bliumis, FF Alumn, London, UK, at Pushkin House, opening June 21
If you are in London, please join me for the opening of
AMATEUR BIRD WATCHING AT PASSPORT CONTROL
Exhibition by Alina Bliumis, curator – Elena Zaytseva
PUSHKIN HOUSE
22 JUNE – 20 AUGUST 2018
PRIVATE VIEW:
THURSDAY 21 JUNE AT 7.30 – 9.00 PM
ARTIST’S TALK AND Q&A:
THURSDAY 21 JUNE AT 6.30 – 7.30 PM
The graphic series Amateur Bird Watching at Passport Control (2016-17), which lends this show its title, explores the human relationship with freedom and nature. It is built around a paradox, revealed by Bliumis in her study of the passport covers of nations all over the world: that birds, the ultimate symbol of freedom, are used on documents controlling international movement. The Belarus-born New-York based artist Bliumis has worked with the themes of geopolitics, national borders, migration and nature throughout her career that spans more than ten years.
As old as the Bible, the written document allowing the crossing of borders and offering remote protection has been issued by those in power, those who were able to control the movements of people. The first of such known documents was by the Persian king Artaxerxes who issued a letter to the prophet Nehemiah (Nehemiah 2:7-9) for travelling to Judea. Notably, the mission of the prophet was to rebuild the walls of Jerusalem. Since then humankind has built and crossed walls with the aid of written or printed documents, issued by those entitled to control the movements of people.
Pushkin House in London is holding this exhibition on the second anniversary of the Brexit vote, when on the 23rd June 2016 the British nation by a marginal majority voted to leave the European Union. This result, that came as a shock to both sides, has led to a long period of debate about borders, border control and freedom of movement.
This graphic series focuses on the birds – stamped in metallic gold on passport covers all over the world. Their use in hereditary symbols and coats of arms evokes a series of attitudes, that Bliumis is tapping into. For example, the dominating use of Roman eagles chosen by the majority of states might reflect on expansionist ambitions or – post-colonial condition. The extinct bird Dodo might warn about ecology as well as doves and birds of paradise could refer to relationship between humans and nature that goes as deep as to the pre-historic times when the nation states did not yet exist.
After examining 193 passport covers from countries around the world, the artist discovered that 43 countries have bird-related creatures as part of their coat of arms, 50 birds in total. For the series, Bliumis isolated each bird from its national symbolic context and drew it true to the source, with a focus on the species’ characteristics: the famous one-legged pose of a flamingo (Bahamas), a vulture in a gliding flight (Mali), an extinct flightless dodo (Mauritius) and a part woman and part bird mythological creature, Harpy (Liechtenstein). Some birds were easy to identify, some required research using various birding resources. Each bird was drawn on copper plate, etched and printed in a single copy.
“Alina Bliumis came to the USA from Belarus. One of the persistent topics of her art is a reflection on the processes of accommodation and integration in which everyone with a similar background is unavoidably involved. The tone of this reflection is far from being dictated by personal ressentiment or protest. Rather, her attention is drawn by the absurdities of the processes themselves. Her recent projects “Amateur Bird Watching at the Passport Control” and “Political Animals” deal with the images of animals and birds that serve as symbols for different national states and thus put on the official documents, including passports, of their citizens.”
– Boris Groys
Alina Bliumis is New York-based artist. Alina received her BFA from the School of Visual Art in 1999 and a diploma from the Advanced Course in Visual Arts in Fondazione Antonio Ratti, Como, Italy in 2005.
Alina has exhibited internationally at the First, Second, and Third Moscow Biennales of Contemporary Art (Moscow, Russia), Busan Biennale 2006 (Busan, South Korea), Assab One (Milan, Italy), the Bronx Museum of the Arts (New York, US), Galerie Anne de Villepoix (Paris, France), Centre d’art Contemporain (Meymac, France), The James Gallery, The Graduate Center CUNY (New York, US), Museum of Contemporary Art (Cleveland, US), Museums of Bat Yam (Bat-Yam, Israel), the Jewish Museum (New York, US), the Saatchi Gallery (London, UK) and the Victoria and Albert Museum (London, UK).
Her works are in various private and public collections, including the Moscow Museum of Modern Art (Russia), Museums of Bat Yam (Israel), the Saatchi Collection (UK), the Harvard Business School (US), the Museum of Immigration History, Paris (France) and the Victoria and Albert Museum, London (UK).
Amateur Bird Watching at Passport Control, Album 2016- 2017 is comprised of 43 works, 12×9 inches each, relief etching on paper, unique.
PUSHKIN HOUSE
5a Bloomsbury Square, London, WC1A, 2TA
Contact us: Tel: 020 7269 9770 E-mail: office@pushkinhouse.org.uk
*Please note that due to summer holidays the exhibition hours changed. Exhibition opened on 22 June – 6 July and 11 – 25 August daily 11.00 am – 5 pm. 9 July – 10 August by appointment only, t. 02072699770
Copyright (c) 2018 Alina Bliumis, All rights reserved.
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22. Danny Tisdale, FF Alumn, launches new website https://tisdalestudio.wordpress.com/
I want to invite the FF community to my new site after a number of years down https://tisdalestudio.wordpress.com/
Thanks,
Danny
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23. Ken Butler, FF Alumn, at Pete’s Candy Store, Brooklyn, NY, June 26
Ken Butler plays LIVE
Tues. June 26th at 9:30
Ken Butler Trio with Nick Demopoulos on SMOMID, and Jeremy Carlstedt, drums … at Pete’s Candy Store in Williamsburg FMI: https://www.facebook.com/events/364836170677391/
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24. Ken Butler, Terry Dame, FF Alumns, at Cabernet Frank’s, Parksville, NY, July 21
Sat. July 21st at 7:30 at Cabernet Frank’s in Parksville NY (upstate). Playing with Terry Dame and the Weird Wednesdays, with Terry Dame, Daniel Jodocy, and Ed Potokar. Together they create magical sounds performed on unique hand built musical contraptions that are both beautiful to look at and amazing to listen to. FMI: https://www.facebook.com/events/173225473347844/
https://kenbutler.squarespace.com
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Goings On is compiled weekly by Harley Spiller
