October 18, 2017 – Franklin Furnace

Contents for October 18, 2017

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1. Mark Berghash, Power Boothe, Papo Colo, Rimma Gerlovina, Donald Goddard, Donna Henes, Tehching Hsieh, Jeannette Ingberman, Daile Kaplan, Nina Kuo, R.T. Livingston, Barbara Quinn, Lorin Roser, Fiona Templeton, Hannah Wilke, Martha Wilson, Brahna Yassky, Krzysztof Zarebski, FF Alumns, now online at http://www.markberghash.com/24hrs.pdf
2. Guerilla Girls, FF Alumns, in The New York Times, Oct. 5
3. Agnes Denes, FF Alumn, at Leslie Tonkonow Artworks + Projects, Manhattan, thru Dec. 2
4. R. Sikoryak, Doug Skinner, FF Alumns, at Dixon Place, Manhattan, Oct. 19
5. Félix González-Torres, Robert Rauschenberg, FF Alumns, at MACBA, Barcelona, Spain, thru Nov. 4
6. Peter d’Agostino, FF Alumn, at Kreativikum Eilbek, Friedrichsberger, Hamburg, Germany, thru Nov. 6, and more
7. Jacki Apple, FF Alumn, now online
8. Nicolas Dumit Estévez Raful, FF Alumn, new publication now online
9. Judy Dunaway, FF Alumn, at Harvestworks, Manhattan, Nov. 8-12
10. Taylor Mac, FF Alumn, receives MacArthur Fellowship 2017
11. Nina Sobell, FF Alumn, at LevyArts, Manhattan, Nov. 12
12. Barbara Hammer, FF Alumn, at Company Galler, Manhattan, opening Oct. 22
13. Carolee Schneemann, Naeem Mohaiemen, FF Alumns, at MoMA PS1, Long Island City, Queens, opening Oct. 22
14. Ann-Marie Lequesne, FF Alumn, at Tintype Gallery, London, UK, Oct. 28-29
15. Edward Gomez, FF Alumn, at Hyperallergic.com, now online
16. Neal Medlyn, FF Alumn, at Chocolate Factory Theater, Long Island City, Queens, Nov. 1-4
17. Dan Fishback, FF Alumn, in The New York Times
18. Chun Hua Catherine Dong, FF Alumn, at The Musée d’Art Contemporain du Val-de-Marne (MAC VAL), France, opening Oct. 20
19. Cassils, FF Alumn, in Art Agenda
20. Naeem Mohaiemen, Carolee Schneemann, FF Alumns, at MoMA PS1, Long Island City, Queens, opening Oct. 22
21. Mark Bloch, FF Alumn, in White Hot Magazine, now online
22. Joseph Nechvatal, FF Alumn, at Galerie Richard, Manhattan, opening Nov. 8
23. Linda Sibio, FF Alumn, at Palms Restaurant, Twentynine Palms, CA, Oct. 21
24. Linda Stein, FF Member, at University of Pittsburgh at Bradford, PA, thru Nov. 13
25. Rae C Wright, FF Alumn, at Dixon Place, Manhattan, Oct. 23
26. Nina Sobell, FF Alumn, at Roulette, Brooklyn, Nov. 7
27. R Sikoryak, Doug Skinner, FF Alumns, at Dixon Place, Manhattan, Oct. 19
28. Jeffrey Schrier, FF Alumn, at Park Avenue Synagogue, Manhattan
29. Isabel Samaras, FF Alumn, at Revolution Gallery, Buffalo, NY, thru Oct. 14, and more
30. Maya Petric, FF Alumn, at 4Culture Gallery, Seattle, WA, thru Oct. 31
31. Jacki Apple, FF Alumn at A.G.Geiger Art Book Fair, LA, CA, Oct. 22
32. Frank Moore, FF Alumn, now online in The East Bay Express
33. Jennifer Monson, FF Alumn, at Cathy Weis Projects, Manhattan, Oct. 22
34. Clarinda Mac Low, FF Alumn, at The 8th Floor, Manhattan, Oct. 22

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Please visit this link:

http://www.markberghash.com/24hrs.pdf

thank you.

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2. Guerilla Girls, FF Alumns, in The New York Times, Oct. 5

THE NEW YORK TIMES
ARTS
Celebrating Global Feminism With Gloria Steinem and Robin Morgan
By MELENA RYZIK
OCT. 5, 2017

Gloria Steinem first visited Paris in college – her first trip to Europe. “Everything was magic,” she said. She and her classmates quickly “acquired boyfriends,” as she put it, so they could hitch rides on scooters. They visited every cathedral and discovered that, if they arrived early at clubs, they’d be treated to a free glass of Champagne. She went to the markets at Les Halles and tasted escargot and climbed to the top of the Arc de Triomphe.

Robin Morgan also first went to Paris as a teenager, hired as an au pair for an American family. Once her charge went to sleep, “I would go out and frequent the places the poets had been, and just think, ‘my God, here was their land,’ ” she recalled.
Now Ms. Steinem and Ms. Morgan, pioneering activists, are thinking about France in another light, as the curators of Festival Albertine, the French-American cultural gathering in Manhattan. In its fourth installment, Nov. 1-5, it is examining feminism across the world, with “Feminism Has No Boundaries” (“Feminisme Sans Frontières”).
Ms. Morgan, an author and radio host, founded the Sisterhood Is Global Institute, a think tank, with the writer Simone de Beauvoir in 1984. Though de Beauvoir’s seminal 1949 book “The Second Sex” was a hit in the United States, the push for equality differs in France and America.

In France, feminism tends “to be more theoretical and academic,” Ms. Morgan said. Though there are more French national programs supporting working mothers, said Bénédicte de Montlaur, the French Embassy’s cultural counselor in New York, who came up with the festival theme, “we face the same issues, of underrepresentation, of
Solutions will be debated on panels of writers and activists, including Roxane Gay, Cecile Richards, and the artist collective Guerrilla Girls, alongside prominent French thinkers like Camille Morineau, a museum director and curator.
France, Ms. Mornieau said, “is a country where people love to think and debate and criticize – to bitch, it’s the core of French culture.”

Explaining why she wanted to take part, Ms. Steinem said: “I’m always in favor of people sitting in a circle and sharing ideas. Something unexpected always comes out of it.” (The event, held at the Albertine bookshop inside the French Embassy in Manhattan, is free and first-come, first-serve.)

Ms. Steinem and Ms. Morgan, longtime friends and colleagues, met at the French Embassy to discuss their collaboration. These are edited excerpts from the conversation.

Politics was going to come up no matter what, but what else did you want to include in this program?

STEINEM We wanted to talk about organizing, because the truism that movements grow from the bottom up, like a tree, and not from the top down, is still neglected. The politics of language is something as simple as always saying “mankind,” which people actually do see as men, instead of “humankind.” Mary Kathryn Nagle [a panelist] is a Cherokee lawyer and playwright, and I thought she would be a revelation. Because we don’t learn from languages that were here before Europeans showed up, and the fact that they didn’t have “he” and “she” – they weren’t gendered, they didn’t have a word for race.
And the body, for sex and race, is the source of our problem. If we didn’t have wombs, we’d be fine. It’s about reproduction.
You are still protesting some of the same things you talked about when you first started as activists. How do you manage the frustration of that?
STEINEM The best thing to do with frustration is to turn it into action, and anger. That’s the only way to relieve the pressure.
MORGAN And they’re not the same. It’s like mistaking a spiral for a circle: you come back at the same thing but at a different level; you see the change from before. The young women waking up to feminism now already wake up to more consciousness than my generation had. Even just simple things like equal pay – before you went, in my generation, and asked for a raise, you went through nausea and your palms sweating. Or before you said, ‘Henry, pick up your own socks.’ Any of those things. And younger women now just come in at a level that is wonderful to see.
It doesn’t help with the socks, though.
STEINEM Here’s the best answer I ever heard about the socks. Actually it was underwear: “When he leaves his underwear on the floor, I find it quite useful to nail it to the floor.” I never forgot that.
Has the messaging changed at all, the way you deliver those ideas?
STEINEM When I first started to go out and speak, I was speaking with a partner, and one of them was Flo Kennedy. I was full of facts and figures, and she said, you know, ‘if you are lying in a ditch, with a truck on your ankle, you do not send someone to the library to find out how much the truck weighs. You get it the [expletive] off.’ So she helped me realize that how we experience reality is not in facts and figures. It’s in simple injustice, and to say it in the way that it’s experienced.
MORGAN Feminism is experiential; it’s comparing notes. And when those stories get told and you realize it’s not just you, it’s bigger, there’s just a huge sigh of relief. Otherwise you think you’re crazy. I thought I was the only woman ever to possibly have faked an orgasm. The first time everybody in my circle said, ‘oh, you too?’, it was literally like [exhales contentedly].
Was Simone de Beauvoir a hopeful person?
MORGAN I think she was, because she wouldn’t have been as political as she was, and after all, she stayed connected to Sartre, and that must’ve taken tremendous, indefatigable hope. [laughter]
STEINEM The only time I met her to talk was, I went to her apartment, with the balcony with books all over, and she was talking about political and class lines as sometimes submerging gender. And my triumph, I felt, was that I made her laugh, by quoting Lee Grant, who said, “I’ve been married to one Marxist and one Fascist, and neither one took the garbage out.”
Are you energized by what has happened in the last year?
MORGAN Oh yes. I mean, I wish it didn’t take what it took to happen. But can you imagine what it is for ancient organizers to see this uprising, at the grass roots? I was afraid – I think all of us were afraid – that after the Women’s March, people would go back to business as usual. And that they haven’t, that they’ve sustained it, and it’s women, mostly, behind the groups that have organized –
STEINEM Black Lives Matter –
MORGAN Indivisible. And the men followed.
STEINEM I think it’s the first time in a massive way that men have just, as a matter of course, followed women’s leadership.
MORGAN And it’s a good leadership, it’s damn good, with a sense of wit and humor and passion. And we’re not going to stop. I now know that we’re not going to stop until we turn this around. The women’s march stretched from Antarctica to China. There’s a global movement, and we got to live to see the day.

A version of this article appears in print on October 6, 2017, on Page C3 of the New York edition with the headline: Festival Celebrates Global Feminism

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3. Agnes Denes, FF Alumn, at Leslie Tonkonow Artworks + Projects, Manhattan, thru Dec. 2

AGNES DENES Truth Approximations
Psychograph and Other Works
October 5 – December 2, 2017

Our fifth solo exhibition of works by Agnes Denes is the first to focus primarily on conceptual projects undertaken throughout her long and distinguished career. It traces the evolution of her philosophical explorations from the early 1970s to the present, featuring rarely exhibited works that evince her interests in a wide variety of disciplines ranging from science and mathematics to geography and psychology.

On view for the first time in its entirety is Psychograph (1971-72), a piece that is equally revealing of Denes’s sincere interest in uncovering the complex motivations of the human psyche as it is of her sense of humor.

A penetrating questionnaire was devised by the artist and given to ten artists (Carl Andre, Leon Golub, Hans Haacke, Douglas Huebler, Sol LeWitt, Gordon Matta-Clark, Robert Morris, Adrian Piper, Bernar Venet, Lawrence Weiner) and two critics (Lucy Lippard, John Perreault). Each was asked to complete sentences that began with a list of existential phrases, the results then interpreted by two licensed psychologists. Described by the artist herself as “a multi-faceted, interactive exercise in truth approximations,” the completed work consists of a seventeen-foot-long monoprint that compiles the questions, answers, and analyses, a series of diagrammatic drawings, and Rorschach inkblots made by Denes. She writes:

Psychograph is an investigation into the nature of communication and perceptions, the hide and seek of the psychosocial phenomena of behavior, the conscious and unconscious mental and emotional process of role-playing in the social arena…. Although all participants were given a choice, most preferred to be evaluated and exhibited but not necessarily identified. Their names were deleted from the individual pieces to insure their privacy, including the psychologists who were identified by their professional license numbers only.

Psychograph is one of several works that are part of Denes’s Study of Distortions, which also encompasses the series entitled Philosophical Drawings (1968-79). The Study of Distortions led to her best known series of works on paper, Map Projections (1973-81), in which she re-envisions the globe as a fanciful, mathematical form projected into a pyramid, doughnut, egg, snail, cube, hot dog, and other shapes.

The forthcoming exhibition will feature seminal works on paper including a five-part drawing entitled Study of Distortions – Positions of Meaning (1971) that, according to Denes, investigates “the various misunderstandings and discrepancies that can occur in the interpretation of a work of art.” Four large drawings from the Map Projections series, and Syzygy – “The Moment of … (1972-73), described by the curator and scholar Peter Selz as Denes’s “most complex and sophisticated visual investigations,” will also be on view.

Another major highlight of the exhibition is Denes’s tour de force, Citadel for the Inner City – The Glass Wall (1975-1976), recently exhibited at documenta 14 in Athens and exhibited here in New York for the first time. With this sixteen-foot-long drawing, exquisitely executed in silver ink, Denes proposes: “A long narrow pyramid-shaped wall constructed from solid glass blocks… It is slightly curved, transparent, and elusive to behold, a total contradiction to what is expected of a wall or fortress. It distorts and fragments reality with constantly changing illusions.”

Among the many other works included in this unique presentation of Denes’s art are the print Matrix of Knowledge (1969-70/2017), originally conceived for the landmark exhibition SOFTWARE Information Technology: It’s New Meaning for Art, held at the Jewish Museum in New York and the Smithsonian Institution in Washington, DC from 1970 to 1971 (also currently on view at documenta 14 in Kassel); and Sheep in the Image of Man (1998), a monumentally-scaled, panoramic photograph that documents the piece Denes created while a Fellow at the American Academy in Rome, when she brought a herd of sheep onto the grounds of the Academy. In her statement about the piece she writes:

My decision to bring sheep into the gardens of the Rome Academy reflects my environmental concerns and calls attention to some of our misplaced priorities. When pitted against the pristine environment of the Academy, the sheep (a symbol for humanity), were intended to create a strong paradox, usually inherent in my art.

An internationally known pioneer of both conceptual and environmental art, Denes has completed public and private commissions in North and South America, Europe, Australia, and the Middle East, and has received numerous honors and awards including numerous fellowships from the National Endowment for the Arts, grants from the New York State Council on the Arts; the DAAD Fellowship, Berlin, Germany; American Academy of Arts and Letters Purchase Award (1985); MIT’s highly prestigious Eugene McDermott Achievement Award (1990); The Rome Prize, American Academy in Rome (1998); Watson Trans-disciplinary Art Award, Carnegie Mellon University (1999); Anonymous Was a Woman Award (2007); the Ambassador’s Award for Cultural Diplomacy for Strengthening the Friendship between the US and the Republic of Hungary through Excellence in Contemporary Art (2008); and a fellowship from the John Simon Guggenheim Foundation (2015).

She has participated in more than 500 exhibitions in galleries and museums and is represented in the collections of major institutions worldwide.

Works by Agnes Denes can also be seen at documenta 14, Kassel (through September 17, 2017); The Garden, ARoS Aarhus Kunstmuseum, Denmark (through September 10, 2017); Hybris, Museo de Arte Contemporaneo de Castilla y Léon (MUSAC), Spain, (through November 19, 2017); Ecovention Europe, Museum De Domeinen in Sittard, Netherlands (through January 7, 2018); From Outrage to Action: Proposals for the Climate, Resources, and the Planet, The Gallatin Galleries, New York University; (September 14 – 21, 2017); Delirious: Art at the Limits of Reason, 1950-1980, The Met Breuer, New York (September 12, 2017 – January 14, 2018); Art in the Open: Fifty Years of Public Art in New York, The Museum of the City of New York (Opening November 10, 2017); and Bending Light: Neon Art 1965 to Now, Neuberger Museum of Art, Purchase, NY, (January 28 – June 24, 2018).

LESLIE TONKONOW Artworks + Projects
535 West 22nd Street, 6th Floor
New York, NY 10011
212 255 8450
tonkonow.com

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4. R. Sikoryak, Doug Skinner, FF Alumns, at Dixon Place, Manhattan, Oct. 19

Dixon Place presents
CAROUSEL
Comics Performances and Picture Shows, Hosted by R. Sikoryak
Live readings and projected presentations of graphic novels, gag cartoons, and other visual art.
Plus live music and live drawing, too.
Featuring:
Nick Abadzis
Kevin Colden
Katie Fricas
Miss Lasko-Gross
Doug Skinner
M. Sweeney Lawless
and more!
Thursday, Oct 19, 2017 at 7:30 pm
Dixon Place, 161A Chrystie Street (btwn Rivington & Delancey), NYC
Tickets: $15 (advance), $18 (at the door),
$12 (students/seniors/idNYC)
Advance tickets & info: www.dixonplace.org (212) 219-0736
(The Dixon Place Lounge is open before, during, and after the show. All proceeds directly support DP’s mission and artists.)

Kevin Colden is the author of the graphic novels I Rule the Night (MTV’s Webcomic of the Year 2010) and Fishtown (Xeric Grant winner and Eisner Award nominee), and illustrator of numerous comics including the 2012 iteration of James O’Barr’s The Crow. He is a multi-instrumentalist, having played with the bands Heads Up Display, Merit Badge (NY-LA), and currently Fan Man and the//yyx.

Katie Fricas is a cartoonist, illustrator, and library worker in New York City. Her non-fiction comics have appeared in The New Yorker, The Guardian, and Hyperallergic, and her newly self-published compilation of comics essays, Art Fan, is available from Birdcage Bottom Books. cartoonfricassee.tumblr.com

Miss Lasko-Gross is the author and illustrator of the graphic novels; Henni, A Mess Of Everything and Escape From “Special.” She is the creator/writer of Z2 comics’ scifi series THE SWEETNESS. Her work has also been featured in the New Yorker’s Daily Shouts. misslaskogross.com

Doug Skinner has been part of Carousel since time began. His latest two books are “The Cocktail Hour” (Corps Reviver Press) and “The Doug Skinner Songbook” (Black Scat Books). www.dougskinner.net

M. Sweeney Lawless is a writer and dramaturg in NYC. Recent work includes writing in the current issues of American Bystander and Lowbrow Reader, and dramaturgy for So…Is This a Date? An Evening with Carmen Cancél and Jean Sophie Kim at the Arclight. Twitter: @Specky4Eyes

R. Sikoryak is the cartoonist responsible for Masterpiece Comics, Terms and Conditions, and The Unquotable Trump, to be released at Powerhouse Arena on Tuesday, October 24. He has drawn for The New Yorker, The Onion, MAD, and The Daily Show with Jon Stewart. He has hosted Carousel shows at Dixon Place and around North America since 1997. rsikoryak.com

More info: http://carouselslideshow.com

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5. Félix González-Torres, Robert Rauschenberg, FF Alumns, at MACBA, Barcelona, Spain, thru Nov. 4

MACBA COLLECTION. BENEATH THE SURFACE

From 11th October 2017 to 4th November 2018

Artists: Ignasi Aballí, Absalon, Pep Agut, Art & Language, Karla Black, James Lee Byars, Jordi Colomer, Ángela De La Cruz, Jean Dubuffet, Latifa Echakhch, Lucio Fontana, Dora García, Félix González-Torres, Derek Jarman, Sigalit Landau, Rita Mcbride, Perejaume, Michelangelo Pistoletto, Charlotte Posenenske, Robert Rauschenberg, Dieter Roth, Doris Salcedo, Gregor Schneider, Antoni Tàpies.

Reflection on surface, its material condition and the expansion of the pictorial field occupy a significant place in contemporary artistic practices. How have forms such as painting and sculpture been altered and stretched so that matter itself is constructed as critical message? MACBA Collection. Beneath the Surface investigates the notion of surface as a privileged place for experimentation and meaning. A large number of the works on display explore postminimalist practices incorporating the critical content which they brought to the language of abstraction.

The exhibition begins by focusing interest on the pictorial surface with works which stretch painting and take it to its physical and conceptual limit. Works by Ignasi Aballí, Art & Language, Jean Dubu et, Lucio Fontana, Dieter Roth and Antoni Tàpies are presented. Others, such as Karla Black, Ángela de la Cruz, Perejaume and Robert Rauschenberg subvert matter so that it takes on a sculptural dimension. And others, such as in Latifa Echakch’s installation, exhibit the political potential of the chromatic layer.

Concern for the formal qualities of matter and the search for perfection and spirituality are to be found in the o erings of James Lee Byars, Dora García, Félix González-Torres and Derek Jarman, which show the disquieting and turbulent reverse side which hides behind the idea of beauty. The exhibition also presents works by Absalon, Pep Agut, Jordi Colomer, Sigalit Landau, Rita McBride, Charlotte Posenenske, Doris Salcedo and Gregor Schneider, which reflect on the urban surface, collective memory, the home and domestic space, given critical meaning as space as a form.

Michelangelo Pistoletto’s work returns us to our starting point, reminding us of the paradox of the reflective surface. Although the mirror becomes a register of every possible image, its ‘transparent’ materiality is deceptively intangible.

Related publication:

THE MACBA COLLECTION. SELECTED WORKS. 2017. Ferran Barenblit, Chris Dercon, Ainhoa Grandes, Ivo Mesquita i Antònia Maria Perelló.

The publication The MACBA Collection. Selected works presents 193 prominent works from the museum’s holdings. The MACBA Collection, shaped by the various directors and curatorial teams, and characterised by its international vision, brings together specialised works and documents dating from the middle of the last century up until the present day. The book also includes a detailed chronology of the genesis of the museum and the growth of its collection and the many presentations and activities made.

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6. Peter d’Agostino, FF Alumn, at Kreativikum Eilbek, Friedrichsberger, Hamburg, Germany, thru Nov. 6, and more

Peter d’Agostino will be in Hamburg to present selections from World-Wide-Walks / BERLIN-LODZ-SOFIA (1990-2009/2017) his Cold War trilogy of video/web projects. [ http://peterdagostino.com/Berlin-Lodz-Sofia ] The Walks were performed in 1990, along remnants of the BERLIN Wall, and in LODZ, Poland for the “Construction in Process” exhibition; and, in 2009 for “Work in Motion – migration, mobility and labor” Red House Center Art Gallery, Sofia, Bulgaria. This installation, and a previous version in Sofia, was curated by Per Pegelow. October 24 – November 6 at Kreativikum Eilbek, Friedrichsberger Straße 53a, Hamburg. [ http://www.hamburger-wochenblatt.de/barmbek/kultur/peter-dagostino-world-wide-walks-berlin-lodz-sofia-d43810.html ]

World-Wide-Walks have been performed on six continents over the past four decades. Initiated as video ‘documentation/performances’ in 1973, the Walks Series evolved into video/ web projects during the 1990s, and mobile/locative media installations in the 2000s, focusing on climate change over the past decade. World-Wide-Walks explore natural, cultural & virtual identities: mixed realities of walking through physical environments and virtually surfing the web.

Peter d’Agostino’s pioneering video, photography, and new media projects have been exhibited internationally for over four decades, including the biennale exhibitions at the Whitney Museum, New York; Sao Paulo, Brazil;and Gwangju, South Korea. Collections include: Museum of Modern Art, New York, San Francisco Museum of Modern Art, Kunsthaus, Zurich, Foundation La Caixa, Barcelona, Spain. His video works are distributed by Electronic Arts Intermix, New York.

A professor of Film & Media Arts, Temple University, Philadelphia, Peter d’Agostino will also be in Berlin at the Farocki Institut with a group of faculty and students to participate in “Farocki Now: A Temporary Academy”. Workshops, presentations, and debates explore the contemporary relevance of Harun Farocki’s work and thought, placing it in new contexts and activating its productive potential. Six study groups from art schools, universities and self-organized institutes from Alexandria, Berlin, Jakarta, Philadelphia, and Potsdam will present their months-long research extending from Farocki’s work. This educational-performative platform will be presented at the Haus der Kulturen der Welt (HKW) and the silent green Kulturquartier, Berlin, October 18 – 21.

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7. Jacki Apple, FF Alumn, now online

Jacki Apple’s performance work “Heart of Palms II” was originally presented at MoMA in 1978. Images can now be viewed on her website along with the full soundtrack with music by Garrett List and vocals by Genie Sherman. Original recording was done at ZBS Studios, Saratoga Springs, NY. Sound Engineer Bob Biliecki.
http://www.jackiapple.com/performances/interdisc/HeartofPalmsII/HeartofPalmsIIpg1/HeartofPalmsIIpg1.html

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8. Nicolas Dumit Estévez Raful, FF Alumn, new publication now online

To download the publication in PDF format:
https://static.idensitat.net/images/id_books/Estetiques_Transversals/_1-ETS_CAT_br.pdf

TRANSVERSAL AESTHETICS PUBLICATION
Art, educative action and middle cities
MANRESA – AVINYÓ – BRONX
Texts and projects presented in the publication
The publication brings together projects realised in the towns of Manresa and Avinyó. The first edition of Transversal Aesthetics was a collaboration with Cal Gras, Alberg de Cultura (Avinyó) and the Museu Comarcal de Manresa (2012), and the second edition, with el Museu Comarcal de Manresa (2012). These two editions have been included in this publication, and precede the third edition which took place between 2016 and 2017 in the towns of Manresa, Mataró, Vilanova i la Geltrú, in the context of Barcelona, and in the towns of Burlada, Huarte and Villava, in the context of Pamplona. The projects presented here pertain to this hybrid space which, by the use of various strategies, connect the natural space and the urban fabric. Each project has a text wrote by an invited author. The book is published in spanish with english translations.

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9. Judy Dunaway, FF Alumn, at Harvestworks, Manhattan, Nov. 8-12

[Nov 8-12] Judy Dunaway- Chamber Ensemble
“Chamber Ensemble” is a participatory sculptural sonic environment utilizing round ready-made latex balloons of various sizes. A giant balloon guides visitors to make sounds with typical toy balloons, to which it responds and reacts. Occasional interlopers send a helium balloon up a deadly tunnel that transforms into an immersive experience. All the while, a large illuminated translucent balloon provides abstract 3-dimensional commentary on the sounds and activities.

Harvestworks
596 Broadway Suite 602 New York NY 10012
Phone: 212-431-1130 Subway: F/M/D/B Broadway/Lafayette, R to Prince, #6 to Bleecker

Installation open to the Public: Wednesday – Sunday noon – 5 pm

Meet the Artist: November 8th from 6-8pm.

Artist Bio

Judy Dunaway is primarily known for her numerous works for latex balloons as sound producers, including sculptural sonic performances, sound installations, interactive pieces and acousmatic works. She has presented these works throughout North America and Europe at many important venues, festivals, museums and galleries including the Academy of Media Arts Cologne (Germany), Alternative Museum (NYC), Audio Art Festival 2016 (Krakow), Cafe Oto (London), Bang on a Can Festival (NYC), Everson Art Museum (Syracuse), Frau Musica Nova (Germany), the Guelph Jazz Festival (Canada), Lincoln Center Out-of-Doors (NYC), the New Museum of Contemporary Art (NYC), Performance Space 122 (NYC), Podewil (Berlin), Roulette (NYC), the Roy and Edna Disney Center (Los Angeles), Seltsame Musik Festival (Austria) and STEIM (Netherlands). Her awards/grants/residencies include Elektronmusikstudion Stockholm, New York State Music Fund, the Aaron Copland Fund Recording Grant, the American Composers Forum’s Composers Commissioning Fund, Zentrum fuer Kunst und Medientechnologie, Harvestworks and the National Endowment for the Arts performance fund. She has given academic presentations about her works at many colleges and universities, including Accademia di Belle Arti di Brera (Milan, Italy), Berlin Academy of the Arts, Concordia University (Montreal), Hochschule fuer Gestaltung, Karlsruhe (Germany), Juilliard School of Music, Musik Akademie Basel (Switzerland), Rennselaer Polytechnic, University of California at Santa Cruz, University of Gothenberg (Sweden) and University of Michigan. She has a Ph.D. from Stony Brook University and an M.A. from Wesleyan University (where she studied with Alvin Lucier). She has been teaching at Massachusetts College of Art and Design in Boston since 2005.

http://www.harvestworks.org/nov-8-12-judy-dunaway-chamber-ensemble/

More of her work can be found here: http://www.judydunaway.com/

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10. Taylor Mac, FF Alumn, receives MacArthur Fellowship 2017

Please visit this link for the complete illustrated details:
https://www.nytimes.com/2017/10/11/arts/macarthur-fellows-winners.html
thank you.

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11. Nina Sobell, FF Alumn, at LevyArts, Manhattan, Nov. 12

I will be one of the artists presenting, hope you can make it! Nina
NY LASER: a Leonardo Education and
Art Forum (LEAF) Rendezvous Event

What: Wine + Discussion
Where: LevyArts: 40 E 19th St #3-R, NYC
When: Sunday, November 12th from 4:00 – 7:00 pm

NY LASER is a series of lectures and presentations on art and science projects, in support of Leonardo/ISAST’s LEAF initiative (Leonardo Education and Art Forum). Former LEAF Chairs, Ellen K. Levy, former IDSVA Special Advisor in the Arts and Sciences and Patricia Olynyk, Director, Graduate School of Art, Washington University co-direct these presentations to promote dialogue at the highest level among artists, scientists, scholars, and historians. Space is limited, so please rsvp. There will be four feature presentations by Nina Sobell, Orshi Drozdik, Laura Splan and Orkan Telhan.
Nina Sobell is a pioneer of brain computer interfaces that explore the synchrony of brainwaves between two or more people, which creates combined physical and mental portraits of non-verbal communication. She will present the developmental history of her Interactive BrainWave Drawing Installations beginning with work at the VA Neuropsychology Lab, BrainChat, an internet application, and a BCI app, BrainChatTrust. She has exhibited at venues that include the ICA London; Getty Museum, the Long Beach Museum of Art, and Contemporary Arts Museum, Houston.

Orshi Drozdik is a Hungarian-born artist, who deconstructs science by showing its role in the creation of gender roles and reveals the construction behind the myth of female identity and objectivity. One such body of work involves taxonomic critiques of Linnaeus and another, Love letters to the Medical Venus, was inspired in part by her experience with the Medical Venus in Vienna. Research, theory and its language, and the manifest representation of these in art have been the ongoing driving force for her creative production.

Laura Splan is an artist and lecturer whose work explores intersections of art, science, technology and craft. Her conceptually based projects interrogate the material manifestations of our mutable relationship with the human body and examine perceptions and representations of the corporeal with a range of traditional and new media techniques. Her recent work uses biosensors (electromyography, electroencephalography) to create data-driven forms and patterns for digitally fabricated sculptures, tapestries and works on paper. Her recent solo exhibition at the NYU Langone Medical Center Art Gallery included 3D printed sculptures and computerized jacquard weavings that explored notions of agency, embodiment, and veracity through data visualization.

Orkan Telhan is an interdisciplinary artist, designer and researcher. Telhan is Associate Professor of Fine Arts, Emerging Design Practices in the School of Design at The University of Pennsylvania. He holds a PhD in Design and Computation from MIT’s Department of Architecture was part of the Sociable Media Group at the MIT Media Laboratory. Telhan’s individual and collaborative work has been exhibited internationally in venues including the Istanbul Biennial (2013), Istanbul Design Biennial. Along with his current work, he will discuss some of the ethics and philosophy of DIY Biological Art & Design.

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12. Barbara Hammer, FF Alumn, at Company Galler, Manhattan, opening Oct. 22

Company Gallery of New York presents:
Truant, Photographs, 1970-1979

Opening Reception: October 22, 6-8pm
Address: 88 Eldridge Street, 5th Floor, New York City

This exhibition will be on view October 22 – November 26, 2017.

Throughout the 1970s, filmmaker Barbara Hammer toured the United States, Africa, and Europe, making film after film about women and the lesbian experience, neither of which had seldom been seen by a woman, for women on screen before. She made a slew of now-legendary experimental films, including Sisters! (1973), Dyketactics (1974), Multiple Orgasm (1976), Sappho (1978), and Double Strength (1978), more or less inventing lesbian cinema at a time when such material had largely been relegated to the pornographic imagination of male artists and filmmakers. During this prolific period, Hammer photographed her travels, her lovers, moments of community and kinship between her collaborators on set, private and public performances, friends, strangers. In these photographs, most of which have never been exhibited before, Hammer’s work explodes traditional notions of female sexuality by showing it for what it is: complex, messy, abstract, human.

As a filmmaker, Hammer fused the non-linearity of Gertrude Stein and the poetic realism of Djuna Barnes to the early to mid-century American filmmaking experiments of Deren, Stan Brakhage, and Jonas Mekas. Her kaleidoscopic vision continuously upended representational expectations about the female body and the expression of sexual and romantic desire as well as the formation of the self on screen. Many of the photographs included in Truant relate directly to Hammer’s better-known work as a filmmaker; others are considerably more spontaneous and personal, even diaristic. There are private moments of sex and nudity-two crucial subjects that she has investigated in film, photography, sculpture, and performance throughout her career. Bodies cavort beside a river, in fields, and in museums. Women look at art. There are landscapes and animals. Known women: the feminist artist and writer Tee Corinne, for one, makes numerous appearances across the decade. Lesser known women, too.

There are women in nature, and women in the world. Often, that woman is the artist herself. She bears witness to her body and its changes, and in doing so, she brings herself closer and closer to the viewer. In one self-portrait, taken in Baja, California in 1974, she turns the camera directly on her own face, revealing a mute expression of indifference, her lips turned in a slight frown, as if the camera did not impress her. She is, at times, ambivalent. Most of the time, she is fascinated, captivated by her body and the bodies of others. When a lover sits on the toilet or Hammer makes love with a girlfriend or finds herself alone and bored, she has her camera ready, so that each event (or nonevent, for that matter) becomes material that she meticulously documents. When a lover injures her leg, Hammer photographs her crotch with a crutch lying beside it, a visual pun that predicts Hammer’s later interest in disability and illness, especially in the 2000s, when she was diagnosed with ovarian cancer, a disease she has lived with ever since. Notions of perfection and imperfection (and, in a related subject, youth and age) are taken up and challenged throughout the photographs as Hammer considers the many types of bodies and individuals who compose lesbian life.

Barbara Hammer (b. 1939) is an American feminist artist known as a pioneer in experimental film. She has had film retrospectives at the Jeu de Palme (Paris), Museum of Modern Art (New York), Tate Modern, National Gallery of Art (DC), Kunsthall (Oslo, Norway), Toronto Film Festival, and Pink Life Queer Festival (Ankara and Istanbul, Turkey). Her work was included in the 1985, 1989, and 1993 Whitney Biennials and is included in the permanent collections of the Australian Center for the Moving Image, the Museum of Modern Art (New York), the Centre Georges Pompidou, and elsewhere. She is the author of Hammer! Making Movies Out of Sex and Life (Feminist Press 2009). She holds a Masters in Literature (1963) and a Masters in Film (1975) from San Francisco State University in California. She lives and works in New York City and Kerhonkson, New York.

For more information please visit companygallery.us.

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13. Carolee Schneemann, Naeem Mohaiemen, FF Alumns, at MoMA PS1, Long Island City, Queens, opening Oct. 22

The galleries are filling with art as we near the end of installation for a new lineup of exhibitions-opening this Sunday at our Fall Open House. Be the first to see our new slate of shows, including Carolee Schneemann: Kinetic Painting, Cathy Wilkes, Naeem Mohaiemen: There is No Last Man, and more.

This Sunday also marks the first VW Sunday Sessions of the season. Join artist Carolee Schneemann in conversation with the exhibition’s curators at 2:30 p.m., followed by an inter-generational quartet performing live, improvised music led by Amirtha Kidambi.

P·P·O·W and Galerie Lelong & Co. are pleased to announce Carolee Schneemann: Kinetic Painting at MoMA PS1.

MoMA PS1 will present the first comprehensive retrospective of the work of Carolee Schneemann (American, b. 1939) in the United States, bringing together over 300 works spanning her prolific six-decade career. As one of the most groundbreaking artists of the second half of the twentieth century, Schneemann’s pioneering investigations into the social construction of the female body and the sexual and cultural biases implicit in traditional art historical narratives have had an indelible impact on subsequent generations of artists.

Carolee Schneemann: Kinetic Painting begins with rarely seen examples of the artist’s early paintings from the 1950s, charting their evolution into assemblages made in the 1960s-which integrated found objects, mechanical elements, and painterly interventions. A central protagonist of New York City’s downtown avant-garde community, Schneemann explored hybrid art forms that culminated in experimental theater events. She was a co-founder of the innovative Judson Dance Theater and the first visual artist to choreograph for the ensemble. During this period, Schneemann began to position her own body in her work with the intent of performing the roles of “both image-maker and image.” Responding to representations of sexuality made predominantly from the perspective of male artists, Schneemann’s provocative pieces foregrounded her body in ways that challenged prevailing attitudes about female sexuality. In parallel, Schneemann’s outrage over the atrocities of the Vietnam War are starkly reflected in several of her works from the mid-1960s.

The exhibition grounds Schneemann’s oeuvre within the context of her lifelong commitment to painting and action, tracing the early developments that would lead to her iconic performances and films from the 1960s and 1970s, through to her multimedia installations from the 1980s, 1990s, and 2000s exploring feminist iconography, intimacy, and personal loss, as well as political disasters, captivity, and the destruction of war.
In 2016, P.P.O.W and Galerie Lelong & Co. began jointly representing Carolee Schneemann and hosted the two-part solo exhibition Further Evidence – Exhibit A and B. This has been an especially historic year for Schneemann, who received the 57th Venice Biennale’s Golden Lion for Lifetime Achievement.

For more information, please visit the museum website.

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14. Ann-Marie Lequesne, FF Alumn, at Tintype Gallery, London, UK, Oct. 28-29

ReflectionOnReflection
A weekend exhibition/performance

Saturday, October 28 – 12-8 pm
Sunday, October 29 – 12-6 pm
(PV – Saturday, 5-8 pm)

TINTYPE GALLERY
107 Essex Rd, London N1 2SL

On reflection, the 18th Annual Group Photograph, was filmed at TINTYPE in November 2015. Two years later the photographs can be seen with new reflections. The outside has come in and I would like you to consider being a participant as the viewing public.

www.theannualgroupphotograph.com
www.amlequesne.com

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

New York
Saturday, October 14, 2017

Dear friends and media colleagues:

My article about Art and China after 1989: Theater of the World, a big, new exhibition of contemporary art from China, has just been published in the “Weekend” edition of the arts-and-culture magazine HYPERALLERGIC.

This exhibition focuses on forms of conceptual art that Chinese artists developed and presented at home and abroad during a period of fast-paced, often tumultuous economic and social change, from 1989 (the year of an important show of avant-garde art in Beijing and of the government’s violent suppression of the pro-democracy movement) and 2008, when China hosted the Summer Olympic Games and effectively declared its arrival as a superpower on the world stage.

You can find my HYPERALLERGIC article here:
https://hyperallergic.com/405409/art-and-china-after-1989-theater-of-the-world-guggenheim-museum-2017/

I send you all best wishes!

EDWARD M. GÓMEZ

www.edwardmgomez.com

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16. Neal Medlyn, FF Alumn, at Chocolate Factory Theater, Long Island City, Queens, Nov. 1-4

Hi everybody, it’s me, Neal Medlyn! It’s a been a little while since we talked because I’ve been doing a lot of things.

Anyway, long story short, I have news to tell you:

SOPHIA CLEARY AND I HAVE MADE A SHOW ABOUT GG ALLIN AND ANNE GEDDES CALLED “MIRACLE” AND YOU SHOULD COME TO IT

What would have happened in 1993 (the same year that Anne Geddes envisioned her first coffee “Down in the Garden” and GG Allin died of a drug overdose) if Geddes had traveled from New Zealand to New York City to rendezvous with GG Allin?

It stars me and Sophia and Gillian Walsh as the DJ.

It’s like Anne Geddes/GG Allin fan fiction.

TICKETS AND INFO HERE
http://www.chocolatefactorytheater.org/redesign/event/sophia-cleary-neal-medlyn-miracle/

In other news:

Champagne Jerry’s Clubhouse at Joe’s Pub continues apace!
Next installment will be November 9 with guests Bridget Everett, Janelle James, Cole Escola, Penis, Max Skaff and visual art by Cycle!
I made a show about Pina Bausch and dating and it’s called “I <3 Pina, a Dating Project.”
It will have its American premiere soon. I think I’m not supposed to say where yet? But it will star me and Maggie Cloud… Info to come…

My Pop Star Series book is out and buy-able from 53rd State Press!

Neal Medlyn

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17. Dan Fishback, FF Alumn, in The New York Times

Please visit this link:

thank you.

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18. Chun Hua Catherine Dong, FF Alumn, at The Musée d’Art Contemporain du Val-de-Marne (MAC VAL), France, opening Oct. 20

Chun Hua Catherine Dong, FF Alumn, at The Musée d’Art Contemporain du Val-de-Marne (MAC VAL), France, October 20, 2017- January 28, 2018
Exhibition Date: October 20, 2017- January 28, 2018
Opening: October 20, 2017 at 6:30 pm
The Musée d’Art Contemporain du Val-de-Marne (MAC VAL)
Addess:Place de la Libération, 94400 Vitry-sur-Seine, France

For more info
http://www.macval.fr/francais/collection/invites-de-la-collection/article/manif-d-art-la-biennale-de-quebec

Chun Hua Catherine Dong is a Chinese-born Montreal based artist working with performance art, 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, Canadian Museum of Immigration, The Aine Art Museum, Kaunas Biennial, 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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19. Cassils, FF Alumn, in Art Agenda

Cassils’s “Monumental” at Ronald Feldman Fine Arts, New York
September 16-October 28, 2017

The practice of Canadian-born, Los Angeles-based artist Cassils expands upon-and queers-a feminist performance-art tradition, molding their transgender masculine physique through rigorous fitness regimens and durational actions. In “Monumental,” Cassils’s current New York exhibition, abstraction has entered the artist’s repertoire. Cassils grapples with their political desire to represent transgender lives and the media’s desire to spectacularize transgender bodies. The most traditional monument on display is Resilience of the 20% (2016), a bronze cast of a one-ton block of clay that Cassils attacked during a previous live performance in the Pennsylvania Academy of Fine Arts’s casting hall. The sculpture, which reveals impressions of Cassils’s hands, feet, and limbs, is spotlit at the center of a room painted a sober, dark gray.

A suite of five photographs depicts the artist’s creation of Resilience of the 20%, punching and kicking their way through a ton of clay in total darkness. The only illumination comes from the hard flash of the cantilevered camera, capturing the artist and wide-eyed audience, as well as a cast of Michelangelo’s David (1501-4) behind them. Earlier this year, Cassils led a site-specific performance with Resilience of the 20% in Omaha, Nebraska, called Monument Push. A series of local activists pushed the 2200-pound bronze sculpture (including a 900-pound base) to unmarked sites of violence against LGBTQ people in the city. A documentary video about the performance, in the style and duration of a Vice clip, plays on a monitor and headphones opposite the photos.

In PISSED (2017), Cassils returns to durational, private performance. The artist collected their urine for 200 days, in response to the US government’s decision to overturn an Obama-era executive order allowing transgender people to use the bathroom corresponding with their gender identity.(1) A clear Plexiglas cube contains 200 gallons of the artist’s urine, preserved with boric acid (a roach killer), giving it the tinge of tea, which faces a floor-to-ceiling grid of disinfected orange urine containers. The ensemble is accompanied by a two-hour soundtrack of the court cases of Gavin Grimm, a transgender student from Virginia who was banned from using the boys’ bathroom at his high school. Grimm fought the school’s policy about utilizing the bathroom that corresponds with his gender assigned at birth up to the US Supreme Court, only to have the court refuse to hear the case this March.(2) During the exhibition’s opening, Cassils performed the conclusion to PISSED on a towering white platform, dressed entirely in black. A living monument, Cassils chugged from a clear jug of water and peed into a funnel, covering their genitals with a long tank top, capping off the work by dumping their urine into the container.

Cassils’s stone-faced performance amounted to a self-serious, monolithic presentation of transgender masculinity, markedly different from some of their earlier performances that glamorize the androgynous body. Yet Cassils recognizes the white masculine-of-center experience has a limited capacity to represent the spectrum of transgender lives-including those of transgender women and people of color. Of Grimm, he’s said that “of course he’s picked up by the [American Civil Liberties Union] because he’s an articulate, well-versed, educated white trans man.” Cassils continues: “he isn’t necessarily the stand-in for most trans experiences.”(3)

The 2015 video Inextinguishable Fire, which documents Cassils being doused in flames on a soundstage, at first appears to symbolize the ultimate hero complex. Filmed at 1000 frames per second, the video stretches the 14-second performance to 14 minutes, bringing to mind Bill Viola’s 1996 slow-motion video installation The Crossing. Cassils’s work, however, subtly deconstructs the myth of white maleness. It begins with an extreme close-up in the center of Cassils’s flame-retardant suit, the only sound the beating of their heart. As flames begin to lick the side of the frame, the camera zooms out, revealing Cassils with outstretched arms against a painted backdrop of a crimson sunset. The image of a white body in a white suit calls to mind associations from the beatific (Jesus) to the evil (KKK). At the end of the performance, two men in silhouette emerge from the sides of the frame to extinguish Cassils. The performance rewinds at a slightly faster speed, allowing viewers to catch details that might go unnoticed, like a tiny handheld fan wafting the flames. The performance underscores a truth in Cassils’s work: violence is as cyclical as it is mediatized. At the same time, it is no less real to its victims.

(1) “Trump Rescinds Rules on Bathrooms for Transgender Students,” New York Times, February 22, 2017: https://www.nytimes.com/2017/02/22/us/politics/devos-sessions-transgender-students-rights.html?_r=0.
(2) Samantha Michaels, “Gavin Grimm Is a Transgender Teen Hero-And He’s Just Getting Started,” Mother Jones, March 8, 2017: http://www.motherjones.com/politics/2017/03/gavin-grimm-will-keep-fighting-transgender-rights/.
(3) Noah Michelson, “The Powerful Reason This Artist Has Been Saving His Urine for the Last 200 Days,” Huffington Post, September 16, 2017: http://www.huffingtonpost.com/entry/cassils-monumental-pissed-urine_us_59bbeacee4b0edff971b88f4.

Wendy Vogel is a writer and independent curator based in New York.

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20. Naeem Mohaiemen, Carolee Schneemann, FF Alumns, at MoMA PS1, Long Island City, Queens, opening Oct. 22

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

Mark Bloch writes about a screening of the rarely seen 1969 film by Arakawa and Madeline Gins: “Why Not (A Serenade of Eschatological Ecology) ” at the Williamsburg space, National Sawdust and presented by the Reversible Destiny Foundation, Dillon + Lee, and part of Asia Contemporary Art Week.

Thanks!

Mark

Please visit this link:
https://whitehotmagazine.com/articles/not-serenade-eschatological-ecology-/3792

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22. Joseph Nechvatal, FF Alumn, at Galerie Richard, Manhattan, opening Nov. 8

Opening November 8th (6 – 8 pm)

Galerie Richard
121 Orchard Street NYC 10002
NEWYORK@GALERIERICHARD.COM
presents
Joseph Nechvatal
Computer Virus 1.0 and the Return of Lazarus
November 8th – December 10th 2017
mini-retrospective exhibition

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23. Linda Sibio, FF Alumn, at Palms Restaurant, Twentynine Palms, CA, Oct. 21

Dear Friends & Colleagues:

Just wanted to let you know that I’ll be performing on Saturday, October 21st at a High Desert Test Sites project on community in Wonder Valley called The Palm Talks. My performance, a new work called “Origins,” will be a fast 10 minutes long, so don’t wear a hat for this rollercoaster ride. The work traces community from the Big Bang up til today, a trip through time which ends at my home base in Copper Mountain Mesa.

The Palm Talks includes both local and non-local contemporary thinkers, historians, writers, and artists, whose contributions culminate in a momentary glimpse into our collective state. Set within the context of the legendary Palms Restaurant and presented with live musical accompaniment by M. Cay Castagnetto and The Renderers, there will be a negotiation between language and sound, noise and meaning, music and speech.

In addition to my participation, the following are also on the bill: Fiona Connor, Trinie Dalton, Gary Dauphin, Steve Kado, Alexander Keefe, Nancy Klein, Annelies Kuiper, Cailin O’Connor, Litia Perta, Laura Sibley, Bobby Jesus and Frances Stark, Sam Thorne, James Owen Weatherall, and Aurora Tang.

The event is 7-10pm. From 29 Palms, the Palms Restaurant is way out Amboy Road. For additional details on High Desert Test Sites 2017, please go here:

http://www.highdeserttestsites.com/hdts

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24. Linda Stein, FF Member, at University of Pittsburgh at Bradford, PA, thru Nov. 13

The Fluidity of Gender by Linda Stein is on display from October 13 – November 13, 2017 at University of Pittsburg at Bradford.

From 2010 – 2025, The Fluidity of Gender will travel to more than 24 museums and universities around the country, including the Alexandria Museum in Louisiana, the Spiva Art Center in Missouri, Wenatchee Valley College in Washington, Vanderbilt University in Tennessee, Flomenhaft Gallery in New York, GCSU Museum in Georgia, Penn State and Muhlenberg in Pennsylvania.

The exhibition explores the continuum between the binaries of masculinity and femininity, while inspiring the compassion, empathy and bravery it takes to become an upstander rather than a bystander. HAWT asks people to re-invent and visualize bravery for themselves, to look at the armor they wear, the safety they seek. The artist says, “with my androgynous forms, I invite the viewer to seek out diversity in unpredictable ways, to ‘try on’ new personal avatars and self-definitions, knowing that every new experience changes the brain’s structure and inspires each of us to a more authentic self.”

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25. Rae C Wright, FF Alumn, at Dixon Place, Manhattan, Oct. 23

It’s a song!
(d’ya know it?!)

Rae C Wright – reads from new work-in-progress “Taxi Take-Me!” –
Dixon Place
Monday October 23rd in the Lounge at Dixon Place – admission is free – drinkin’ from the bar is encouraged – show starts at 7:30 and won’t be more than 30 minutes.

DIXON PLACE – 161a chrystie street, ground floor * new york ny 10002-2885 * 212.219.0736 * www.dixonplace.org

gratefully,
Rae C

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26. Nina Sobell, FF Alumn, at Roulette, Brooklyn, Nov. 7

LIVE PERFORMANCE OF “GLASS” (1972)

Tuesday, November 7 @ 8pm
Roulette
509 Atlantic Avenue, Brooklyn
presents
Optics 0:1: Combinations
featuring
NINA SOBELL, AMY RUHL & SAMANTHA CRABTREE
Nina Sobell revisits her 1972 work “Glass,” for multi channel video camera, broken glass and mirror, silicone, and projection.

Amy Ruhl performs “Between Tin Men,” a multi-media performance, video, and installation project adapted from L. Frank Baum’s The Tin Woodsman of Oz.
Samantha Crabtree performs new work for multi-channel broadcast.
Optics 0:1: Combinations is the premiere of the second annual multimedia festival directed by Victoria Keddie that examines modalities of creation, production, and performance involving video based technologies. This year’s festival focuses on combinations of multi-media within the context of a live performance. Areas of focus include multi-channel video camera recording processes and live production, choreography of space and movement, and photographic sound.
Tickets: $20/15 Online; $25/20 @Door
Doors: 7:00pm 120 minutes
Purchase Tickets

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27. R Sikoryak, Doug Skinner, FF Alumns, at Dixon Place, Manhattan, Oct. 19

BIOS
Nick Abadzis is a British, Eisner-award winning, internationally published writer and cartoonist who lives and works in the USA. For more info, drawings, commentary and news updates, please visit: nickabadzis.com
Kevin Colden is the author of the graphic novels I Rule the Night (MTV’s Webcomic of the Year 2010) and Fishtown (Xeric Grant winner and Eisner Award nominee), and illustrator of numerous comics including the 2012 iteration of James O’Barr’s The Crow. He is a multi-instrumentalist, having played with the bands Heads Up Display, Merit Badge (NY-LA), and currently Fan Man and the//yyx.
Katie Fricas is a cartoonist, illustrator, and library worker in New York City. Her non-fiction comics have appeared in The New Yorker, The Guardian, and Hyperallergic, and her newly self-published compilation of comics essays, Art Fan, is available from Birdcage Bottom Books. cartoonfricassee.tumblr.com
Miss Lasko-Gross is the author and illustrator of the graphic novels; Henni, A Mess Of Everything and Escape From “Special.” She is the creator/writer of Z2 comics’ scifi series THE SWEETNESS. Her work has also been featured in the New Yorker’s Daily Shouts. misslaskogross.com
Doug Skinner has been part of Carousel since time began. His latest two books are “The Cocktail Hour” (Corps Reviver Press) and “The Doug Skinner Songbook” (Black Scat Books). www.dougskinner.net
M. Sweeney Lawless is a writer and dramaturg in NYC. Recent work includes writing in the current issues of American Bystander and Lowbrow Reader, and dramaturgy for So…Is This a Date? An Evening with Carmen Cancél and Jean Sophie Kim at the Arclight. Twitter: @Specky4Eyes
R. Sikoryak is the cartoonist responsible for Masterpiece Comics, Terms and Conditions, and The Unquotable Trump, to be released at Powerhouse Arena on Tuesday, October 24. He has drawn for The New Yorker, The Onion, MAD, and The Daily Show with Jon Stewart. He has hosted Carousel shows at Dixon Place and around North America since 1997. rsikoryak.com

More info: http://carouselslideshow.com

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28. Jeffrey Schrier, FF Alumn, at Park Avenue Synagogue, Manhattan

I am honored to have my Benediction series as permanent installation components at Park Ave. Synagogue, NYC:

From project architect, Amy Reichert:
“I am very excited to announce that the last of the panels with your artwork is being installed….. The (Park Avenue) Synagogue is so thrilled to have so many contemporary artists participating (about 50 of you), as well as being among the best artists practicing today, you are in the great company of Rembrandt, Titian, Keith Haring, Gerard Richter, Paul Klee, and a host of other art luminaries! If you can’t make the opening, I would like to encourage you to stop by when you are next in NYC.”

Jeffrey Schrier, Benediction, 6 archival laser montage output prints.
Artist’s note: Imagery includes an 1879 Yiddish play found at age 28
in LA street trash, that happened to be based on Miketz, my Bar
Mitzvah Torah parsha at age 13.

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29. Isabel Samaras, FF Alumn, at Revolution Gallery, Buffalo, NY, thru Oct. 14, and more

Isabel Samaras’ work is featured in three exhibitions – “East Looking West” an exhibition of West Coast artists curated by Jonathan LeVine, at Heron Arts in San Francisco; “Interfusion” at Revolution Gallery in Buffalo, NY, and another piece in their next show “Coven” also at Revolution Gallery in Buffalo. http://www.isabelsamaras.com/ and @isabelsamaras.art on IG

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30. Maya Petric, FF Alumn, at 4Culture Gallery, Seattle, WA, thru Oct. 31

ARTIFICIAL INTELLIGENCE as an ARTISTIC TOOL (AI-AT)
using AI to express the essence of our collective gaze at a sky affected by climate change

The Lost Skies exhibition at Seattle’s 4Culture Gallery

WHERE: 4Culture Gallery, Seattle, WA, USA
WHEN: Through October 2017
ARTIST TALK: October 19, 12:00 – 1:00 pm

There is only one sky, but the ways we see and interpret it are infinite.

Lost Skies are computer-generated visualizations intended to capture collective views of a sky affected by climate change. In order to achieve this all-encompassing perspective, the artist Maja Petric utilizes artificial intelligence as an artistic tool (AI-AT) to combine numerous points of view into individual archetypal images.
AIEye: AI learns from our collective gaze

The algorithm AIEye, developed in collaboration with Microsoft Research AI computer scientist Mihai Jalobeanu, searches the internet and collects large amounts of data representing manifold views of the world affected by climate change-related events. The algorithm then uses complex mathematical systems to learn the characteristics of these images, analyze their salient properties and generate one image that is representative of all. The resulting artwork captures varying human perspectives of a changing world.

AIEye process of generating an image.

Each day of the exhibition Lost Skies at 4Culture Gallery, Maja Petric uses AIEye to generate a new visualization of the sky that relates to climate change and current events (e.g. Hurricane Maria, BC Wildfires, Melting Arctic, etc.). The images are posted HERE.

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31. Jacki Apple, FF Alumn at A.G.Geiger Art Book Fair, LA, CA, Oct. 22

Sunday October 22, 2017 1-7 pm JACKI APPLE will be at the A.G.Geiger Book Fair, 502 Chung King Ct. Chinatown, L.A. CA 90012 with artists books and catalogs for sale. Some new and some rare out-of-print including–
“The Tower” by Jacki Apple & Helen Thorington. Designed by Paul Soady and Kio Griffith. Hardcover, 113 pages, signed & numbered. In major collections including MoMA, The Getty, The Huntington Library, etc. 35 remaining.

“Trunk Pieces” 1978 by Jacki Apple. Published by Visual Studies Workshop, Rochester, NY 1978
Softcover edition of 250. Out-of-print. A dozen available.

“Partitions” 1976 by Jacki Apple. The book is printed on translucent vellum so that the layers of multiple texts bleed through from back to front and page to page, with a metallic silver ink reflective cover. Limited edition of 250. A dozen copies available.

“The Art of Spectacle” Interdisciplinary performance catalog from 1984. Featuring artists Glenn Branca, Remy Charlip, Ping Chong, Lin Hixson, Robert Longo, Rachel Rosenthal, and Carl Stone. Published by LACE, Some Serious Business and UCLA Center for the Arts.
Spiral bound. Soft cover. 3 rare copies.

LP Album “The Mexican Tapes” 1979 110 Records, NYC Cover photo by Sandi Fellman Rare out-of-print record. 2 copies.

CDs by Jacki Apple- “Thank You for Flying American: Stories and Songs 1980-1991”; “Ghost Dances / on the event horizon”
“Yoshio Ikezaki: Elements”. Award winning catalog for exhibition curated and designed by Jacki Apple. A 64-page hard cover book written and edited by Jacki Apple and designed by Winnie Li. A limited edition of 500. Embossed cover. Published 2017
And more…..
See my website for more info on books and a look inside.
http://www.jackiapple.com/artistbooks/artistbooks.html
http://www.jackiapple.com/artistbooks/TheTower/…/Tower1.htmlhttp://www.jackiapple.com/…/TrunkBookC…/TrunkBookCover1.htmlhttp://www.jackiapple.com/artistbooks/partitions.htm
http://www.jackiapple.com/artistbooks/partitions.html

If you are in L.A. come by and shop. If not you, contact Jacki Apple, jaworks1211@gmail.com for prices and direct purchase.

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32. Frank Moore, FF Alumn, now online in The East Bay Express

Frank Moore is mentioned in a recent article about the 20th anniversary of Oakland’s Temescal Art Center, where Moore did a monthly performance series from 2009 until his passing in 2013.

From the article, “Temescal Art Center, a Scrappy Interdisciplinary Haven, Turns 20”:

Linda Mac, partner of the late artist provocateur Frank Moore, whose nude “eroplay” events inflamed censors for decades, said that Moore referred to TAC as his “performance home.”

See the article at: https://www.eastbayexpress.com/oakland/temescal-art-center-a-scrappy-interdisciplinary-haven-turns-20/Content?oid=9793773

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33. Jennifer Monson, FF Alumn, at Cathy Weis Projects, Manhattan, Oct. 22

October 22, 2017 – Cathy Weis Projects and guest curators Jon Kinzel and Vicky Shick welcome Seline Baumgartner, Jennifer Monson with Zeena Parkins, and Lisa Nelson to Sundays on Broadway.

In her recent series of videos Seline Baumgartner has been collaborating with New York dancers Sally Gross, Meg Harper, Jon Kinzel, Keith Sabado, Vicky Shick, and Robert Swinston exploring how age and experience deepens artistry.

Jennifer Monson and Zeena Parkins will perform material that is being developed for “bend the even,” a new work to be presented at the Chocolate Factory in February 2018. The material is developed from the minutia of transitions experienced in tonal shifts in vibration and frequency.

Dance artist and videographer Lisa Nelson brings a first public performance of a new videogame(-in-progress) that re-reverse-engineers her long-excavated practice of Tuning Scores-a real-time editing of movement, sound and touch. Joined by colleague Jennifer Monson, Nelson proposes to expose each of their singular approaches to improvisational performance through playing together in formats of videogame and live dancing.

All Sundays on Broadway events begin at 6:00 pm. Doors open at 5:45 pm at WeisAcres. Keep in mind, this is a small space. Please arrive on time out of courtesy to the artists.

Sundays on Broadway events are free and open to the public.

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34. Clarinda Mac Low, FF Alumn, at The 8th Floor, Manhattan, Oct. 22

The Frontview for Art and Architecture, Roya Khadjavi Projects, and The Shelley & Donald Rubin Foundation invite you to The 8th Floor to break bread and share in conversation as part of Asia Contemporary Art Week 2017. Curated by Mohammad Golabi and Lalita Salander, the afternoon will consist of two panel discussions and a roundtable Q&A, exploring the challenges, needs, and possible approaches towards immigration from the perspective of cultural policy and management in New York City, offering an opportunity to work together on solutions. Featured panelists include artist Shahrzad Changalvaee; Felicity Hogan, Director of NYFA Learning;
artist and journalist Siddhartha Joag, founder of artistsafety.net; Clarinda Mac Low, Director of Culture Push; Laura Raicovich, Director of The Queens Museum;
Sebastien Sanz de Santamaria, Director of Operations at Residency Unlimited;
Laurel Ptak, Director of Art in General; and Diya Vij, Special Projects Commissioner’s Unit, NYC Department of Cultural Affairs. Additionally, participating artists Rambod and Ramyar Vala will take part in the event by presenting a video essay and the program will feature a reading of a poem by Basim Mardan.

Middle Eastern and Eastern European cultures share a common tradition of welcoming guests with a symbolic offering of bread and salt. This folk tradition traverses Judaism, Christianity, and Islam. The exchange of bread and salt is an effective tool for social interaction and is based on the concepts of trust, acceptance, loyalty, and generosity. Throughout the program, breads from a variety of ethnic bakeries will be served in the traditional manners adhering to specific cultures’ manifestations of exchanging bread and salt, culminating with a reception featuring an array of Persian delicacies.

http://the8thfloor.org/bread-and-salt-immigration-policies-ban-and-their-effect-on-artistic-practice-and-discourse/

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Goings On is compiled weekly by Harley Spiller

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