September 18, 2017 – Franklin Furnace

Contents for September 18, 2017

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1. Rory Golden, FF Fund recipient 2017-18, in Prospect Park, Brooklyn, Sept. 27-28
2. Shirin Neshat, FF Alumn, receives Praemium Imperiale award
3. Nora Ligorano, FF Alumn, in The New York Times, Sept. 10
4. Irina Danilova, FF Alumn, at Kingsborough Community College, Brooklyn, thru September 27 and more
5. Irina Danilova, Nicolas Dumit Estevez Raful, Linda Montano, FF Alumns, at OkNo Gallery, Chelyabinsk, Russia, opening Sept. 22
6. Patty Chang, FF Alumn, at MoMA PS1, Long Island City, NY, Sept. 23
7. Beverly Naidus, FF Alumn, at Centre for Contemporary Arts, Glasgow, Scotland, October 3
8. Isabella Bannerman, FF Alumn, at Westchester Community College, Valhalla, NY, Oct. 11
9. Arantxa Araujo, Billy X. Curmano, Irina Danilova, Rory Golden, Alicia Grullón, Donna Henes, LuLu LoLo, Ricardo Miranda Zúñiga, Linda Mary Montano, Jenny Polak, Nicolás Dumit Estévez Raful, Elizabeth Stephens & Annie Sprinkle, Chin Chih Yang, , FF Alumns, on 14th Street, Manhattan, Oct. 12-15
10. Tim Miller, FF Alumn, September news
11. Anney Bonney, Ann Magnuson, FF Alumns, at MoMA, Manhattan, opening Oct. 31 and more
12. Paul Lamarre & Melissa Wolf, Donald Goddard, Bonnie Sherk, Betty Tompkins, FF Alumns, at MoMA PS1, Long Island City, NY, September 24
13. Coco Fusco, FF Alumn, now online at www.espacioaglutinador.com and more
14. Ken Friedman, FF Alumn, now online
15. Robert Longo, FF Alumn, at The Brooklyn Museum, thru Oct. 10, and more
16. Saya Woolfalk, FF Alumn, at New Art Center, Newtonville, MA, thru Oct. 22
17. Barbara Hammer, FF Alumn, at Yale University, New Haven, CT
18. Alexander Viscio, Lawrence Weiner, FF Alumns, at Galerie Michaela Stock, Vienna, Austria, thru Oct. 7
19. Tomislav Gotovac, FF Alumn, at Museum of Modern and Contemporary Art, Rijeka, Croatia, opening Sept. 22
20. Roberta Allen, FF Alumn, on WBAI radio, Sept. 18, and online
21. Lynn Gumpert, FF Member, at Metropolitan Pavilion Gallery, Manhattan, Oct.25
22. Liliana Porter, FF Alumn, at Hammer Museum, Los Angeles, CA, thru Dec. 31
23. Dara Birnbaum, Leon Ferrari, Ana Mendieta, Claes Oldenburg, Howardena Pindell, Carolee Schneemann, Andy Warhol, FF Alumns, in The New York Times, Sept. 14
24. Dan Perjovschi, FF Alumn, at Palais Attems, Graz, Austria, Oct. 12
25. Franklin Furnace at Robert Miller Gallery, Manhattan, Sept. 19
26. Jamie Martinez, FF Member, at Fire Proof East Gallery 104, Brooklyn, opening September 22
27. Anna Banana, FF Alumn, at Kunstverein Toronto, Ontario, Canada, thru Oct. 14 and more
28. Clifford Owens, Dread Scott, FF Alumns, at MoMA, Manhattan, Sept. 20
29. Martin Wong, FF Alumn, at Berkeley Art Museum and Pacific Film Archive, CA, September 20-Dec. 10
30. Tehching Hsieh, Linda Montano, Claes Oldenburg, Richard Serra, Andy Warhol, FF Alumns, in The New York Times, Sept. 14
31. Kyong Park, FF Alumn, at Asia Culture Center, Gwangju, Korea, thru Jan. 14, 2018
32. León Ferrari, Nao Bustamante, FF Alumns, at REDCAT, Los Angeles, CA, thru December 17
33. Karen Shaw, Emma Amos, Sean Leonardo, jc lenochan, FF Alumns, at St. John’s University, Hillcrest, Queens, NY, opening Sept. 22
34. Simone Forti, Yvonne Rainer, FF Alumns, in PAJ issue 117

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1. Rory Golden, FF Fund recipient 2017-18, in Prospect Park, Brooklyn, Sept. 27-28

Rory Golden
Duty Free Ranger: Taste for Romance
September 27 & 28 2017, 4PM to Dusk

Rory Golden will read aloud from a romance novel by Barbara Cartland* while eating powdered donuts on a bench in Prospect Park. Colonial history, fashion and white blindness are raw material for parody in this new iteration of Golden’s Duty Free Ranger performative public intervention series.

Golden will read Love, Lords and Ladybirds* aloud, certainly with commentary, or breaks for coffee, eating donuts throughout. Duty Free Ranger: Taste for Romance offers a dramatic interpretation of historical romance literature that evokes colonialist capitalist hetero patriarchal hegemony at its most ethereal and ludicrous. Taste for Romance serves as an act of acknowledgement and resistance.

A 2017 Franklin Furnace Fund recipient, Golden has plans for other actions over the course of the year. According to the artist “Duty Free Ranger fashion actions destabilize colonialism, militarism and complacency. In these, I embody, satirize and on a vibrational level undo imperialism’s damaging effects. Duty Free Ranger connects contemporary cultural expressions, in this case, fashion, with our violent history through public actions or rituals of various kinds.”

Duty Free Ranger: Taste for Romance premiers September 27 and 28 2017 from 4PM to dusk, in Brooklyn’s Prospect Park.

Check @rorygolden on Instagram and Twitter for specific location near the Lincoln Road entrance.

Closest MTA: Q/B at Prospect Park, Lincoln Road exit.

This is happening in public space and there is no admission fee.

Visitors may bring hot coffee and powdered donuts to share with others

This work was made possible, in part, by the Franklin Furnace Fund supported by Jerome Foundation, The SHS Foundation, and the New York City Department of Cultural Affairs in partnership with the City Council.

*Barbara Cartland, known as the Queen of Romance, broke the world record for the most books written in a year, with one hundred twenty one books in 1976. In 1977 she broke her own record.

Cartland’s Love, Lords and Ladybirds is set in Regency England and follows saucy, headstrong Petrina as she matches wits with her ward, the Earl of Staverton.

Rory Golden has received fellowships from Yaddo, the Bemis Center for Contemporary Arts, the Blue Mountain Center for major projects “Your One Black Friend” and “See Related Story: The Murder of J.R. Warren.” Recent awards include a research grant from Duke University Libraries Special Collections, a Puffin Foundation Grant, residencies at Blue Sky Project and the Manhattan Graphics Center towards an ongoing project “You Think I Can Eat All This Chicken Here?”

Golden’s performative works destabilize colonialism and militarism via public interventions, rituals and acts of propitiation he dubs “fashion actions”. In Duty Free Ranger public intervention series Golden becomes an amplifier and transmitter of secret language that enables justice in some fashion. He has presented at La Mama in NYC as part of NYU’s Hemispheric Institute of Performance Art & Politics “Emerge NYC” intensive; at the Performance Laboratory (Detroit, MI); at the Radical Archives Conference at NYU and Art in Odd Places in New York City and Sydney, Australia; Itinerant Performance Art Festival; Dixon Place Lounge; and with No Longer Empty in New York City.

@rorygolden on Instagram and Twitter. www.rorygolden.net

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2. Shirin Neshat, FF Alumn, receives Praemium Imperiale award

The New York Times
ARTS
Shirin Neshat and Mikhail Baryshnikov Among Praemium Imperiale Winners
By ANDREW R. CHOW
SEPT. 12, 2017

The dancer Mikhail Baryshnikov and the visual artist Shirin Neshat are among the five winners of this year’s prestigious Praemium Imperiale award given by the Japan Art Association.

This award, for lifetime achievement, carries a prize of 15 million yen (approximately $137,000) and will be presented at a ceremony in Tokyo on Oct. 18. Each recipient is from a different country: In addition to Ms. Neshat of Iran and Mr. Baryshnikov, who is Russian American, the other winners are the Ghanaian sculptor El Anatsui, the Spanish architect Rafael Moneo and the Senegalese musician Youssou N’Dour.

All five artists are highly decorated in their fields. Ms. Neshat won the Silver Lion at the 2009 Venice Film Festival for “Women Without Men,” her film directorial debut. Mr. Moneo won the Pritzker Prize for architecture in 1996. Mr. Baryshnikov, one of the most celebrated dancers ever, leads the Baryshnikov Arts Center in New York.

The associated Grant for Young Artists, awarded to a nonprofit that encourages young people in the arts, was given to Zoukak Theater and Cultural Association, a Beirut-based theater collective led by Maya Zbib.

The Praemium Imperiale, given annually since 1989, aims to celebrate artistic fields not covered by the Nobel Prize in Literature (though Bob Dylan was the first musician to win it last year). Previous American recipients include Martin Scorsese, Frank Gehry and Cindy Sherman, FF Alumn.

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3. Nora Ligorano, FF Alumn, in The New York Times, Sept. 10

The complete illustrated story is linked below, followed by text only:

The New York Times
N.Y. / REGION
Dry Cleaning the City’s Oldest Maps
By ALEXANDRA S. LEVINE
SEPT. 10, 2017

The tables in the basement of the Municipal Archives are covered with household staples: cotton swabs, tweezers, food strainers, measuring cups, ashtrays and other materials.

None are items that one would expect to find in a professional art conservation laboratory. But they are tools used by a group of government workers who wash and care for some of the oldest existing maps and architectural drawings of New York City. They call themselves “dry cleaners.”

“It’s like being a tailor, but a tailor for paper,” said Pauline Toole, commissioner of the city’s Department of Records and Information Services, which oversees the archives at 31 Chambers Street – what was once the Hall of Records, but is now the Surrogate’s Courthouse.

The building is home to 243,000 cubic feet of records – enough to cover more than four football fields – including maps, photographs, film spools and birth, death and marriage certificates that tell the story of the city’s past. The last four years have seen a push from researchers and archivists to digitize the annals, slowly making them more accessible to the public, but many of the faded, fraying documents are almost too fragile to endure that process, according to the conservators there. Among the endangered records are hundreds of maps of post-colonial New York, created as early as the 1700s, rolled tightly into cardboard wrapping and stored in the city’s proverbial attic.

“These things have been sitting rolled up in those acidic boxes for 30 years, at least,” said Nora Ligorano, a conservator at the Archives. “No one has opened them or touched them for decades.”

Until now.

Tragedies and natural disasters in New York and abroad have placed an added urgency on preserving New York’s treasures. The 1966 Florence Flood in Italy, that city’s most devastating natural disaster of modern times, spurred an international effort to rescue valuable documents and set a precedent for how paper relics should be conserved. This century, collections at the World Trade Center were destroyed on 9/11 and works at South Street Seaport and the New York City Police Museum were lost in Hurricane Sandy, reminding New Yorkers – historians and conservators, in particular – of the importance of protecting our archival gems.

“It’s really saving New York history,” Ms. Ligorano said. “We are the custodians of this history.”

Inside the lab, conservators talk about the care of antique maps like a doctor discusses a patient’s condition and treatment in an intensive care unit.

Conservators will lay a given map on a table for an exam and diagnose the issue: Is it brittle or burned? Damaged by water or tape? Crumbly, delaminated or peeling? Then they record the treatment in a chart of sorts so that years later, the next caretaker will know what remedy was given.

The repair process of a map – like that for a more than 200-year-old, torn illustration of Williamsburg, Brooklyn – typically takes several hours, though sometimes the conservators will spend days working on just one.

They must first carefully unpack the cardboard storage boxes that hold about a half-dozen coiled maps inside. Then they place each map in a “humidification chamber” in the sink to relax the material that has spent years twisted in a tube. The map is then flattened across a table, with the help of cloth-covered bricks, and left to dry. Only then can the healing process begin.

Much like with clothes, the decision to wash a map using water or to dry clean it, with a vacuum or soot sponge, depends on its material and condition. A sponge was used to dry clean a dusty, soot-sprinkled 1850s map of Russell Place in Brooklyn, for example. Soon, the document appeared brighter and clearer, revealing names like Wyckoff and Lefferts. Baltic and Water Streets by Dumbo, and parts of what is now Park Slope, slowly came into focus.

The dry cleaners concentrate mostly on New York City maps produced by city agencies or municipal government. Currently, they are cleaning hundreds of maps given to the Archives by St. Francis College in Brooklyn in 1988. “One piece will be beautiful, and the next will need extensive work,” said Cynthia Brenwall, another conservator. The sprawling maps, some of which run the length of an 18-foot table, tell the tale of Brooklyn when it was still its own city.

Many of the maps in these collections were more detailed and personalized than one might imagine an official government map to be, the dry cleaners said.

Some maps of Brooklyn farmland depicted “a mansion house, and the ice house, and the oyster shack, and the grapery,” Ms. Brenwall said. “You know, where the gardens were, where the churches were, the small country road that took them to where the boat landing was – they’re all detailed in these maps. It’s charming.”

Pointing to a map from Sept. 18, 1800, Kenneth Cobb, assistant commissioner at the Archives, said: “They drew in every little tree here. The care taken is extraordinary. These measurements are to the inch. Fractional.”

Other maps were doodled with personal insignia from the surveyors – oak leaves on one, figurines or compasses others – as the creators’ way of signing their work and leaving their mark.

The goal of nursing the maps back to health is to make them a relevant, informative part of New York’s DNA and to bring its history to life in a way that text-heavy records – like dense crime reports, handwritten government files or documents about New Amsterdam, penned in Dutch – might not be able to.

“You can trace the settlement of New York,” Ms. Toole said, and “assemble all of the maps to show exactly that story, visually, without words.”

“If we don’t take care of them and make them available, you would have a series of guesswork,” she added. “You’d have great texts, but to see it is something different.”

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4. Irina Danilova, FF Alumn, at Kingsborough Community College, Brooklyn, thru September 27 and more

Reflections 2017,
KAM museum, Kingsborough Community College
Curator Brian Hack
Thru Sept 27, 2017
2001 Oriental Boulevard in Brooklyn

and

Expanding Territories exhibition
curated by Raketa
parallel program of Moscow Biennial at Darwin Museum in Moscow
Opening September 15th, 5-7
Ul. Vavilova 57

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5. Irina Danilova, Nicolas Dumit Estevez Raful, Linda Montano, FF Alumns, at OkNo Gallery, Chelyabinsk, Russia, opening Sept. 22

Qui Pro Quo
Parallel program of Ural Biennale
OkNo Gallery, Chelyabinsk, Russia
Curator Svetlana Shlyapnikova
Opening September 22, 6-8
http://uralbiennale.ru/en/places/parallel-program/kvi-pro-kvo

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6. Patty Chang, FF Alumn, at MoMA PS1, Long Island City, NY, Sept. 23

I’m having a book launch for the artist book I made with Dancing Foxes.
The Wandering Lake by Patty Chang
The launch is Saturday September 23 at 4-5pm at PS 1 for the Art Book Fair.
I’ll be giving a performative presentation as well as having a conversation with the fabulous writer, performer and critic Claudia La Rocco.
Yours,
Patty
http://nyartbookfair.com/events/

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7. Beverly Naidus, FF Alumn, at Centre for Contemporary Arts, Glasgow, Scotland, October 3

Beverly Naidus will be giving a keynote lecture at the Centre for Contemporary Arts in Glasgow, Scotland on October 3, 2017
http://www.cca-glasgow.com/programme/beverly-naidus-socially-engaged-art-and-pedagogy-for-these-challenging-times

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8. Isabella Bannerman, FF Alumn, at Westchester Community College, Valhalla, NY, Oct. 11

Isabella Bannerman and Franca Bannerman will present illustrations, photos and true stories in a lecture,
“Growing up in Italy During World War II”,
Sponsored by the Westchester Community College Foundation Italian Scholarship Fund
On Wednesday, October 11, 2017 at 11:15 AM
at the Gateway Center Davis Theater (Parking Lot 1)
Westchester Community College
75 Grasslands Road
Valhalla, NY 10595

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9. Arantxa Araujo, Billy X. Curmano, Irina Danilova, Rory Golden, Alicia Grullón, Donna Henes, LuLu LoLo, Ricardo Miranda Zúñiga, Linda Mary Montano, Jenny Polak, Nicolás Dumit Estévez Raful, Elizabeth Stephens & Annie Sprinkle, Chin Chih Yang, , FF Alumns, on 14th Street, Manhattan, Oct. 12-15

Art in Odd Places 2017: SENSE
October 12-15
14th Street from Ave C to the Hudson River
Curated by Nicolás Dumit Estévez Raful with Rocío Aranda-Alvarado (El Museo del Barrio) and Jodi Waynberg (Artists Alliance Inc)
60+ ARTISTS TAKE ON 14th STREET TO FOCUS ON ‘SENSE’

For the 13th consecutive year, Art in Odd Places (AiOP) will stage provocative works of interactive art in unexpected public spaces along 14th Street in Manhattan. The festival is curated by independent curator Nicolás Dumit Estévez Raful with Rocío Aranda-Alvarado from El Museo del Barrio and Jodi Waynberg from Artists Alliance Inc. This year’s focus is SENSE which will welcome gestures that aim to awaken dormant perceptions. Events will begin on Thursday, October 12 and conclude on Sunday October 15, with a festival reception to take place on October 13 on 14th Street between Seventh and Eighth Avenues.

The ethos of AiOP has always been one of sharing, openness, and accessibility. A boundary of many NYC neighborhoods, 14th Street is chosen as a location to host the annual festival as it transverses many diverse communities.

Committed to staging a transformative experience by multi-generational artists for a multi-generational audience, AiOP will feature the work of 61 artists, including:

LuLu LoLo: In her public performance homage to Mother Cabrini, Saint of the Immigrants will offer blessings and compassion to passersby on her pilgrimage along the path of 14th Street. Mother Cabrini sailed from Italy to New York City in 1899 to ease the suffering of the Italian immigrants. This performance will honor the many immigrants in the world who leave (flee) one land for another.

Linda Mary Montano with Laura Byrne and Christine Finley: In this performance, Montano will fast for three days and then be fed by a “caregiver” under a sign, WE ARE ALL HUNGRY. Montano says, “Food is so expensive. We eat to fill our bodies, minds, fears, desires and not our soul hunger. The poor suffer from no access to good and fresh food. We all suffer from fear that drives us to overeat. This will also access my current theme of aging and the possibility of ending up in a nursing home and having to be fed one day.”

Billy X. Curmano: In his performance, Curmano gives a nod to mariners everywhere. An Exploratory Expeditionary Art Adventure Team will search for the New Amsterdam Passage connecting the East and Hudson Rivers. A signed and numbered vial with waters collected on day one of his Mississippi Swim will be mixed in an ocean harp with waters from the East and Hudson Rivers followed by a ceremonial serenade to the waterways.

Lady K Fever will create a nighttime site-specific pop up happening that will travel across East 14th Street, illuminating seven sites as the seven chakras of 14th Street with reflective objects, color, scents, music and dancing exploring our dreams and fears of the dark. Starting at First Avenue (the root) and ending at Broadway (the crown), each chakra site will explore the mystical and magic of the streets at night. Participants are invited to join Lady K Fever with flashlights and reflective objects as she proceeds along 14th Street.

Clarivel Ruiz: In her performance, “Asé,” Orisha Oya comes to 14th Street to bless and uplift the residents of New York City passersby with rose water and asé.

Jeremy Nelson and Luis Lara Malvacías / 3RD CLASS CITIZEN presents RELAY: The Movable Garden – a motion that serves as a demonstration as well as a public protest. The project combines performance, choreography and an outdoor movable installation. This street gathering includes a movable garden carried up and down 14th street (from Avenue C all the way over to Eighth Avenue) by twenty performers wearing mirrored costumes and various sources of light. On each plant, there is a sign explaining its country of origin.

Conscious of the vast interpretations and many meanings behind the word SENSE in the public context of 14th Street in Manhattan, Art in Odd Places 2017 will present installations, performative actions, audios, choreographies, workshops, oracles, classes, salons, time-based/online-digital/and multimedia projects, as well as proposals in any uncategorized formats, all of which are to focus on intuiting the unseen at an intimate or collective level. Emphasis will be given to honest processes pointing to any of the hidden currents that flow through, below, or above the New York City thoroughfare in question; currents of which most busy passersby may remain unaware. Similarly, SENSE will welcome gestures that aim to awaken dormant perceptions within individual pedestrians, and arouse one-on-one or group synergies that promote sighting, feeling and self-healing.

Key words: perceive, sight, intuit, reveal, foretell, restore, balance, regenerate, astral, align, etheric, harmonize, open, transpersonal, vision, vibrate, recharge, light, unconscious, numen, portal, energy, therapy, psychogeography, meridian, synchronicity, liminal, parity, vantage, and stasis.

AiOP is collaborative, horizontal, and constantly in-motion. Pushing the boundaries and limitations of public space, participating artists are chosen on a basis of artistic excellence, their work’s ability to create interaction with the community, and a successful record of collaborations.

FACT SHEET
WHO:

CURATORS:
Curated by Nicolás Dumit Estévez Raful with Rocío Aranda-Alvarado (El Museo del Barrio) and Jodi Waynberg (Artists Alliance Inc)

Nicolás Dumit Estévez Raful follows an elusive path that manifests itself performatively or through experiences where the quotidian and art overlap. He has exhibited and performed extensively in the U.S. as well as internationally. Residencies attended include P.S. 1/MoMA, Yaddo, and the MacDowell Colony. Estévez Raful has curated exhibitions for El Museo del Barrio; the Institute for Art, Religion and Social Justice at Union Theological Seminary; Cuchifritos; the Center for Book Arts; and Longwood Art Gallery/BCA, New York; and for the Filmoteca de Andalucía, Córdoba, Spain. Born in in Dominican Republic, in 2011 Estévez Raful was baptized as a Bronxite.

Rocío Aranda-Alvarado was born in Santiago de Chile. She received her Ph.D. in Art History from the City University of New York Graduate Center. She is currently the Curator at El Museo del Barrio in New York City, where she recently organized Presente! The Young Lords in New York, and Antonio Lopez: Future Funk Fashion. Ms. Aranda-Alvarado is on the faculty of the Art Department at The City College of New York, where she is teaching a course on Contemporary U.S. Latinx Art.

Jodi Waynberg is the Executive Director of Artists Alliance Inc, a non-profit organization dedicated to supporting the careers of emerging and underrepresented artists and curators through residencies, exhibitions, and commissioned projects. Rooted in the Lower East Side community (a long standing epicenter for creative experimentation and cultural diversity) and in New York City at-large, AAI focuses on advancing contemporary art practices and fostering dialogues through the use of alternative and atypical art spaces, ensuring that the LES remains a powerful place for making and viewing art.

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10. Tim Miller, FF Alumn, September news

TIM MILLER News! ATHE 2017 Career Achievement Award and NYC run and workshop intensive Oct 16-21

Hi ALL!

I was super honored to be given the Association for Theatre in Higher Education Ellen Stewart Award for Career Achievement in Professional Theatre. What a joy to have the award ceremony for this be witnessed at the ATHE conference in Las Vegas by so many beloved friends, colleagues, scholars, artists and activists. What a privilege it is to get to work in the juicy conversation between theatres, arts centers, colleges, and universities as we encourage new and diverse voices and witness for this mad time we occupy. Thanks so much ATHE, Sonja Kuftinec for nominating me and for all the people who wrote in support. And now, back to work! I hit the road for the 2017-18 tour and I am excited for the coming season with my new show ROOTED in NYC at Dixon Place Oct 14 and 21…
http://dixonplace.org/performances/rooted/
…shows in Boston and LA, and residencies & performances at USC, SMU, Northeastern University, Hamilton College, Syracuse University, Butler Univ, Kennesaw State University, UNC School of the Arts and more!

Send along any likely NYC folks for a week-long performance workshop I will be leading at Dixon Place Oct 16-21.

This performance workshop welcomes performers at all levels of experience, artists, activists, queer-identified and queer-allied folks to come together to create an original performance that maps the charged border between our bodies and society…our personal narratives and our politics…our private selves and public view. Over the course of one week, we will shape our discoveries into a public performance at Dixon Place Oct 21. More info below and at Dixon Place website.
http://dixonplace.org/performances/body-maps-performance-workshop-intensive-tim-miller/

FALL TOUR 2017
Sept 6 USC FREE PERFORMANCE with Marga Gomez
http://visionsandvoices.usc.edu/events/listing.php?event_id=965534
Sept 23-24 Dallas, SMU
Sept 25-Oct 1 Boston, Northeastern Univ Residency
Sept 28 Performance of Rooted Sept 28 https://camd.northeastern.edu/cfa/events/tim-miller-performance-rooted/
Oct1-7 Hamilton College
Oct 7 Performance of Rooted https://www.hamilton.edu/campuslife/arts-at-hamilton/performingarts/performing-arts-events#MILLER
Oct 8-11 Syracuse Univ
Oct 14-21 NYC Dixon Place run of my new show Rooted
http://dixonplace.org/performances/rooted/
Nov 13-16 Indianapolis, Butler Univ

2018 Winter
Jan 24-Feb 3 Kennesaw State Univ
Feb 5-12 UNC School of the Arts
Feb 26-March 2 Pierce College WA
March 4 Reed College , Portland
BODY MAPS, PERFORMANCE WORKSHOP INTENSIVE – Tim Miller NYC Oct 16-21 Dixon Place
http://dixonplace.org/performances/body-maps-performance-workshop-intensive-tim-miller/
THIS WORKSHOP IS FOR PEOPLE TO GATHER TOGETHER AND EXPLORE CREATING ORIGINAL PERFORMANCES
My goal is to share a variety of strategies to create original performances from the tremendous energies and stories that are present in our lives. Using our own memories and myths as a jumping off point, we will see where a deep sense of personal history creates performance that jumps out from our bodies onto the stage or the page.
This performance workshop welcomes performers at all levels of experience, artists, activists, queer-identified and queer-allied folks to come together to create an original performance that maps the charged border between our bodies and society…our personal narratives and our politics…our private selves and public view. Over the course of one week, we will shape our discoveries into a public performance. Our work will be a fun and charged exploration into creating original performance work from our personal lives: from our dreams, obsessions, peeves, memories and desires. Telling our own story doesn’t separate us from other people, it connects us.
We will work intensively for a week and the workshop will culminate in an ensemble-generated public performance from your fierce creativity! Please bring your hearts and brains, hopes and fears.
If you have any questions, please contact Tim Miller at
www.TimMillerPerformer.com | millertale@gmail.com
Performance Workshop Schedule
Monday, October 16 at 10am – 1pm
Tuesday, October 17 at 10am – 1:30pm
Wednesday, October 18 at 10am – 1pm
Thursday, October 19 at 10am – 1:30pm
Friday, October 20 at 10am – 1:30pm
Saturday, October 21 at 2 – 6pm
Culminating in a Public Performance at Dixon Place
Saturday, October 21 at 5pm
Monday – Saturday, October 16 – 21, 2017
$200 for the week intensive
$175 early bird before Sept 15

Registration https://web.ovationtix.com/trs/store/171/pr/63897

Tim Miller is an internationally acclaimed solo performer. Miller’s performance works have been presented all over the world at venues such as Yale Repertory Theatre, London’s Institute of Contemporary Arts, the Walker Art Center, Actors Theatre of Louisville, and the Brooklyn Academy of Music Next Wave Festival. He is the author of the books Shirts & Skin, Body Blows, and 1001 Beds, an anthology of his performances and essays, which won the 2007 Lambda Literary Award for best book in Drama/Theater. Miller has taught performance at UCLA, NYU, and at Cal State Los Angeles. He is a cofounder of two of the most influential performance spaces in the United States: Performance Space 122 in NYC and Highways Performance Space in Santa Monica, CA. www.TimMillerPerformer.com

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11. Anney Bonney, Ann Magnuson, FF Alumns, at MoMA, Manhattan, opening Oct. 31 and more

Annie Bonney, FF Alumn, will have work screened in the CLUB 57 Show at MoMA opening Halloween, 2017 and also in the Venice Biennale, Border Pavilion

Club 57: Film, Performance, and Art in the East Village, 1978-1983
October 31, 2017-April 01, 2018
The Roy and Niuta Titus Theater Galleries

The East Village of the 1970s and 1980s continues to thrive in the public’s imagination around the world. Located in the basement of a Polish Church at 57 St. Marks Place, Club 57 (1978-83) began as a no-budget venue for music and film exhibitions, and quickly took pride of place in a constellation of countercultural venues in downtown New York fueled by low rents, the Reagan presidency, and the desire to experiment with new modes of art, performance, fashion, music, and exhibition. A center of creative activity in the East Village, Club 57 is said to have influenced virtually every club that came in its wake.

Club 57: Film, Performance, and Art in the East Village, 1978-1983 is the first major exhibition examining the scene-changing, interdisciplinary life of downtown New York’s seminal alternative space in full. The exhibition will tap into the legacy of Club 57’s founding curatorial staff-film programmers Susan Hannaford and Tom Scully, exhibition organizer Keith Haring, and performance curator Ann Magnuson-to examine how the convergence of film, video, performance, art, and curatorship in the club environment of New York in the 1970s and 1980s became a model for a new spirit of interdisciplinary endeavor. Responding to the broad range of programming at Club 57, the exhibition will present their accomplishments across a range of disciplines-from film, video, performance, and theater to photography, painting, drawing, printmaking, collage, zines, fashion design, and curating. Building on extensive research and oral history, the exhibition features many works that have not been exhibited publicly since the 1980s.
Organized by Ron Magliozzi, Curator, and Sophie Cavoulacos, Assistant Curator, Department of Film; with Ann Magnuson, guest curator.

Major support for the exhibition is provided by the Keith Haring Foundation.
Generous funding is provided by mediaThe foundation inc.
Additional support is provided by the Annual Film Fund.

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12. Paul Lamarre & Melissa Wolf, Donald Goddard, Bonnie Sherk, Betty Tompkins, FF Alumns, at MoMA PS1, Long Island City, NY, September 24

Arthur Fournier Fine & Rare is proud to present FOOD SEX ART | The Starving Artists’ Cookbook Archive 1986-1991, a collection of video art and original works on paper gathered by artists Paul Lamarre and Melissa Wolf (EIDIA House) during the late 1980s to document the culinary practices of creative communities in New York City’s East Village and beyond. The exhibition will take place during Printed Matter’s New York Art Book Fair, September 21-24, 2017, at MoMA PS1. Join us for a special event in the Classroom at 3 pm on Sunday the 24th featuring Anthony Haden Guest, Donald Goddard, Betty Tompkins, Bill Mutter, David Sandlin, Bonnie Sherk and Maynard Monrow discussing the role that cooking and dining with friends, lovers and collaborators has played in their creative lives.

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13. Coco Fusco, FF Alumn, now online at www.espacioaglutinador.com and more

Coco Fusco and Cuban artist Sandra Ceballos announce their new joint venture – workshops about cutting edge Cuban art to be held at Cuba’s longest running independent art space, Aglutinador.
For more information please visit: www.espacioaglutinador.com

On another note, please note my upcoming activities:

Lecture at Denver Art Museum on September 15: http://denverartmuseum.org/calendar/logan-lecture-coco-fusco

Dialogue with Elvira Dyangani at Creative Time Summit on September 29 in Toronto: http://creativetime.org/summit/toronto-2017/

Panel Discussion at CultureLab Detroit, “The Lie that Tells the Truth,” with Hilton Als and Mel Chin. October 6: http://www.culturelabdetroit.org/dialogues/2017programs.html
I am working with Cuban artist Sandra Ceballos on creating workshops in English about cutting edge Cuban art to be held at her apartment-art space in Havana.

Thank you. Coco Fusco

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14. Ken Friedman, FF Alumn, now online

The current issue of She Ji is now available on-line, As always, all contents are fully accessible in open access format, available for reading online and available for download in .pdf format.

http://www.sciencedirect.com/science/journal/24058726?sdc=1

The contents include:

“Editorial: New Challenges for Design.”
by Ken Friedman

“Social Means Do Not Justify Corruptible Ends: A Realist Perspective of Social Innovation and Design.”
by Otto von Busch and Karl Palmås

“Scaling Down: Why Designers Need to Reverse Their Thinking.”
by Jeremy Myerson

“Growth or Decline? A Longitudinal Analysis of Factors Affecting the Institutional Trajectories of Five Design Disciplines in the United States.”
by Ali O. Ilhan

“Self-Knowledge by Proxy: Parsons on Philosophy of Design and the Modernist Vision.”
by Per Galle

“Viewpoint: When You Come to a Fork in the Road, Take It: The Future of Design.”
by Donald A. Norman

“Book Review: Doughnut Economics – Seven Ways to Think Like a 21st Century Economist.”
by Jerry Diethelm

With best regards from the She Ji staff and from

Ken

Ken Friedman, PhD, DSc (hc), FDRS | Editor-in-Chief | 设计 She Ji. The Journal of Design, Economics, and Innovation | Published by Tongji University in Cooperation with Elsevier | URL: http://www.journals.elsevier.com/she-ji-the-journal-of-design-economics-and-innovation/

Chair Professor of Design Innovation Studies | College of Design and Innovation | Tongji University | Shanghai, China ||| Email ken.friedman.sheji@icloud.com | Academia http://swinburne.academia.edu/KenFriedman | D&I http://tjdi.tongji.edu.cn

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15. Robert Longo, FF Alumn, at The Brooklyn Museum, thru Oct. 10, and more

The Brooklyn Museum Raises an Original Flag by Robert Longo, in Partnership with Creative Time’s Series Pledges of Allegiance

This morning, the Brooklyn Museum raised Robert Longo’s work Untitled (Dividing Times) (2017) beneath the American and New York City flags that fly in front of the Museum’s entrance. The public artwork is part of Creative Time’s Pledges of Allegiance, a yearlong, serialized commission of sixteen flags created by contemporary artists. Untitled (Dividing Times) will fly until October 10, 2017. The flag will be raised simultaneously at the following cultural institutions across the nation: Creative Time’s headquarters in New York; 21c Museum Hotel in Durham, North Carolina; University of South Florida Contemporary Art Museum, Tampa; The Aldrich Contemporary Art Museum, Ridgefield, Connecticut; RISD Museum, Providence, Rhode Island; Kemper Art Museum at Washington University, St. Louis, Missouri; Cornell University’s Herbert F. Johnson Museum of Art, Ithaca, New York; and MOCAD, Detroit, Michigan.

“While National flags are powerful symbols of belonging, pride, and unity, Longo’s Dividing Times raises questions about American identity at a moment of great division,” noted Anne Pasternak, the Shelby White and Leon Levy Director of the Brooklyn Museum.

Longo’s Pledges of Allegiance flag is based on the artist’s 2016 large-scale charcoal drawing Untitled (Nov. 8, 2016), now on view in the exhibition Proof: Francisco Goya, Sergei Eisenstein, Robert Longo, at the Brooklyn Museum. Rendered in black and white and composed of two panels, Longo’s American flag drawing alludes to the date of our last national election. The stark separation depicted in both the drawing and the flag speaks to an intensely divisive political climate, and ongoing discussion and questions about American identity.

About Pledges of Allegiance
Pledges of Allegiance is presented by Creative Time and was originally conceived by Alix Browne and developed in collaboration with Cian Browne, Fabienne Stephan, and Opening Ceremony. Each flag points to an issue the artist is passionate about, a cause they believe is worth fighting for, and speaks to how we might move forward collectively. The flags will be raised at varying times in public spaces over the course of a year. Participating artists include Tania Bruguera, Alex Da Corte, Jeremy Deller, Latoya Ruby Frazier, Ann Hamilton, FF Alumn, Robert Longo, FF Alumn, Josephine Meckseper, Marilyn Minter, Vik Muniz, Jayson Musson, Ahmet Ögüt, Yoko Ono, FF Alumn, Trevor Paglen, Pedro Reyes, Rirkrit Tiravanija, and Nari Ward.

About Robert Longo
Robert Longo (American, born 1953) has made a career of thinking critically about the circulation, consumption, and power of pictures. His monumentally scaled charcoal drawings expose politicized moments in current events, include re-creations of historical artworks, and incorporate potent symbolic imagery. He draws on, but does not copy, images seen in print or online, and then translates them into meticulously detailed charcoal drawings. Works in the exhibition include Untitled (St. Louis Rams/Hands Up) (2015), a powerful tribute to a football player with his arms up in protest of police violence against black Americans, and Untitled
(Raft at Sea) (2017), depicting refugees adrift in the Mediterranean. Longo lives and works in New York.

For more information, visit www.brooklynmuseum.org or www.creativetime.org.

Press Contact:
Brooklyn Museum Press Office, 718.501.6354, press@brooklynmuseum.org

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16. Saya Woolfalk, FF Alumn, at New Art Center, Newtonville, MA, thru Oct. 22

COLOR:CODED
On View in the Main Gallery: September 15 – October 22, 2017
Opening Reception: Friday, September 15, 6-8PM

A Curatorial Opportunity Program Exhibition curated by Michael Covello Odalla and Alison Terndrup

Participating Artists: Alison Chen, Zhiwan Cheung, Michael Covello Odalla, Trenton Doyle Hancock, Kalup Linzy, Noelle Mason, Desiree Moore, Beth Plakidas, Elizabeth Schneider, Saya Woolfalk, and Michelada Think Tank

COLOR:CODED, a Curatorial Opportunity Program exhibition curated by Michael Covello Odalla and Alison Terndrup features video work, paintings, and site-specific installations by a diverse group of eleven artists. This exhibition engages viewers with the layered issues and loaded history of color — . Don’t forget to check out related events and Family Drop-in Day! Join us for related programming, including Family Drop-in Day!

EXHIBITION PROGRAMS AND EVENTS
Opening Weekend: Friday, September 15 – Saturday, September 16

Family Drop-in Day: Saturday, September 23, 1-4PM
Artist Talk with Beth Plakidas: Thursday, October 5, 6:30-8PM

This exhibition is presented as part of our Curatorial Opportunity Program (COP).
New Art Center
61 Washington Park
Newtonville, MA 02460
www.NewArtCenter.org
(617) 964-3424
(617) 630-0081 (fax)
General Inquires:info@newartcenter.org

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17. Barbara Hammer, FF Alumn, at Yale University, New Haven, CT

Barbara Hammer Archive adds to Beinecke’s collections of LGBTQ creativity
https://news.yale.edu/2017/09/13/barbara-hammer-archive-adds-beineckes-collections-lgbtq-creativity

By Michael Morand
september 13, 2017
Barbara Hammer
The Beinecke Rare Book and Manuscript Library has acquired the archives of visual artist and filmmaker Barbara Hammer. The archives consist of notebooks, journals, manuscripts, correspondence, and photographs spanning several decades. They will be open for research in 2018 following archival processing.
A pioneer of queer cinema, Hammer has made over 80 moving image works in a career that spans 40 years.
“Barbara Hammer is an extraordinary innovator and influencer in contemporary culture,” says Timothy Young, curator of modern books and manuscripts at the Beinecke Library. “For more than four decades, she has been at the forefront of conversations about sexuality, gender roles, and the body, making art of interest to scholars and students.”
“Our colleagues at the Yale Film Study Center describe her as the most influential lesbian filmmaker of the 1970s, and their collections include her early films, including ‘Dyketactics,’ ‘Women I Love,’ and ‘Double Strength,’ on 16mm film, which they screen in their original format,” Young notes. “The addition of her extensive archives will enrich teaching and learning at Yale in many fields, from women’s and gender studies to filmmaking and art, and will draw scholars from beyond campus now and in the future.”
Hammer says, “I am delighted that my archives will live alongside and be in conversation with those of artists such as Georgia O’Keeffe and Gertrude Stein and Alice B. Toklas, among others who experimented in their work, while making important contributions to the social and sexual landscape.”
“Yale’s Beinecke Library is among the foremost centers in the world for lesbian and gay archives,” Hammer notes, “with a strong commitment to making primary source material from both the distant and the recent past accessible in the present to inform the future.”
“The Beinecke Library is a dynamic institution,” Young says, “and we are so pleased to add Barbara Hammer’s to a growing set of collections that include the papers of Stein and Toklas, Mary Ellen Bute, Monique Wittig, and Lisbet Tellefsen.”bei
Hammer’s work will be showcased in a number of festivals and venues this fall, including the 55th annual New York Film Festival and the Leslie-Lohman Museum of Gay and Lesbian Art. To read her full biography and a list of other upcoming screenings and exhibitions of her work, visit Hammer’s website: http://barbarahammer.com
about the beinecke rare book & manuscript library
One of the world’s largest libraries devoted entirely to rare books and manuscripts, the Beinecke Library has room in the central tower for 180,000 volumes and in the underground book stacks for more than a million volumes. Temperature and humidity controls ensure that stored materials are protected for future generations. The library’s collections are used to create new scholarship by researchers from around the world. The building – composed of Vermont marble and granite, bronze and glass – was designed by Gordon Bunshaft, of the firm of Skidmore, Owings and Merrill. For hours and other information, visit the Beinecke’s website.

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18. Alexander Viscio, Lawrence Weiner, FF Alumns, at Galerie Michaela Stock, Vienna, Austria, thru Oct. 7

BAD WORD DISCO & PARTICIPATIVE PERFORMANCES

OPENING: 14.9., 18 h

Liebevolle Schimpfwörter / Affectionate Terms of Abuse
Bernadette Anzengruber, Patrick Baumüller, Ivica Capan, Vlasta Delimar, frustracиja., Tomislav Gotovac, Vlado Martek, Veronika Merklein, Lilo Nein, Peter Riss, Alexander Viscio

Archive in Words – Limitierte Künstlerbücher / Limited Artist Books
Sandro Dukic, Gregor Eldarb, Tomislav Gotovac, Julije Knifer, Dimitrije Bašičević MANGELOS, Maj 75, Jonathan Monk, Giovanni Morbin, Sabine Ott, Harold Pinter / Gorgona, Josip Stošić, Lawrence Weiner

Galerie Michaela Stock, Schleifmühlgasse 18, 1040 Vienna-Austria www.galerie-stock.net info@galerie-stock.net
P: 0043-1-9207778 / M: 0043-699-19207778 Opening hours: Tue-Wed 4 -7 pm, Thu-Fri 11 am – 7 pm & Sat 11 am-3 pm

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19. Tomislav Gotovac, FF Alumn, at Museum of Modern and Contemporary Art, Rijeka, Croatia, opening Sept. 22

Dear friends and associates,

we proudly announce the opening of the exhibition Tomislav Gotovac: Crisis Anticipator – Don’t Ask Where We’re Going at the Museum of Modern and Contemporary Art in Rijeka, Croatia, on Friday, September 22 at 8 p.m.
You are invited!

Zora, Sarah, Darko
Tomislav Gotovac Institute

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20. Roberta Allen, FF Alumn, on WBAI radio, Sept. 18, and online

Mon. Sept. 18, 2 pm

Roberta Allen will be interviewed about

The Princess of Herself
a story collection

by Janet Coleman on

Cat Radio Cafe at WBAI/NY 99.5FM

Streaming live at www.wbai.org
Archived at www.catradiocafe.com
Facebook at CatRadioCafe@facebook.com

See more upcoming events on my site
www.robertaallen.com
The Princess of Herself, Stories
www.pelekinesis.com
www.robertaallen.com/the-princess-of-herself

Roberta Allen is a conceptual artist/sculptor, short story writer,
novelist and memoirist with nine books.

Book Launch Party Sat. 9/23, Minus Space, 16 Main St., Dumbo
4-6 pm

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21. Lynn Gumpert, FF Member, at Metropolitan Pavilion Gallery, Manhattan, Oct.25

CUE Art Foundation 2017 Gala and Benefit Auction Honors Judith Bernstein and Lynn Gumpert
The staff and board of directors of the CUE Art Foundation are pleased to announce that they will honor artist Judith Bernstein and Lynn Gumpert, the director of the Grey Gallery at New York University, at the organization’s 2017 Gala and Benefit Auction. Both Bernstein and Gumpert have made invaluable contributions to the visual arts community, and their careers exemplify the values CUE strives to uphold in its programming.
The 2017 Gala & Benefit Auction will take place from 6 to 10 PM on Wednesday, October 25, 2017 at the Metropolitan Pavilion Gallery, 125 West 18th Street, New York, NY. Tickets start at $75 for artists and $150 for general admission. For tickets and event details, please visit cueartfoundation.org. For further information, contact
info@cueartfoundation.org.
Proceeds from the event support programs that provide essential career and education opportunities for emerging and under-recognized artists, curators, and arts writers.

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22. Liliana Porter, FF Alumn, at Hammer Museum, Los Angeles, CA, thru Dec. 31

LILIANA PORTER
Radical Women: Latin American Art, 1960-1985
Hammer Museum, Los Angeles
15.09 – 31.12.2017

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23. Dara Birnbaum, Leon Ferrari, Ana Mendieta, Claes Oldenburg, Howardena Pindell, Carolee Schneemann, Andy Warhol, FF Alumns, in The New York Times, Sept. 14

Please follow this link to the complete illustrated article:

thank you.

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24. Dan Perjovschi, FF Alumn, at Palais Attems, Graz, Austria, Oct. 12

Anja Lutz Bookdesign.
Where Are We Now?
Positions on the here and now
Book presentation : October 12, 7pm
Festival centre at Palais Attems / Graz

steirischerherbst.at

2017 marks the 50th edition of steirischer herbst. As an international festival for new art, it has always understood itself as a place of lively engagement with the complex relationships of the present. In the same spirit, it will focus for its anniversary on the here and now rather than making the past the centre of attention. Where Are We Now?, is the fundamental question posed-not just as this year’s festival leitmotif but also by a book that has been published now as a commissioned work. It is a challenge to take a sharp look at the world: at what is happening around us, at what is happening beyond our field of vision, at things we generally prefer to block out. It is a call to critical self-positioning and to take a stand.

The coordinate system is, at the same time, completely open. The examination of one’s own position in the spatial fabric of the world, whose centres and peripheries are currently undergoing an immense shift, is just as relevant as a positioning within the historical process, which is continually being rewritten as “History.” Bringing private fears or local success stories into consciousness can be just as revealing as an academic analysis of political developments or artistic portrayals of social phenomena. What is most crucial is for us to understand the fundamental openness of the coordinate system: There are no fixed points for the gauging of our reality. We can question all the structures, evidence and dominant narratives of our time. Perhaps Donald Trump was the first to understand this and put it shamelessly into practice. Perhaps we have to ask ourselves self-critically, if art and culture have rejected the increasing commodification of all areas of life, the polarisation and erosion of solidarity, too often only within their own circles. “If art is good for anything,” writes Marcus Steinweg in this book, “it’s for destabilising all of those illusions that allow the textures of our reality to seem consistent.” We can doubt. And create.

Where Are We Now? is a question that has accompanied the festival team from the very start. In this year, and with this book, this question is explicitly asked to more than 50 artists and theoreticians, whose fabulous work has shaped the festival over the past decade. The diversity of their answers provides us with an artistic and philosophical cartography of the present. It is characterised less by boundaries, than by an expansion of the horizon and the realm of facts. Expansions in order to create concrete spaces of opportunity that do not lie beyond our reality, but in it (if you want it), and that can be occupied by us in the best sense of the word.

With contributions by Jörg Albrecht, Lola Arias, Aleida Assmann, Yael Bartana, Leah Borromeo, Ulla von Brandenburg, Ann Cotten, Black Cracker, Roberto Dainotto, Charles Esche, Tim Etchells, feld72, Peter Friedl, Philipp Gehmacher, Beatrice Gibson, Georg Friedrich Haas, Heidrun Holzfeind, Iconoclasistas, Lois Keidan, Veronica Kaup-Hasler, Alexander Kluge, Federico León, Frie Leysen, Alanna Lockward, Florian Malzacher, Evgeny Morozov, Rabih Mroué, Fiston Mwanza Mugila, Nature Theater of Oklahoma, Olga Neuwirth, Molly Nilsson, Dan Perjovschi, Peter Piller, Tobias Putrih, Walid Raad, raumlabor berlin, Rimini Protokoll, Monika Rinck, Ivana Sajko, Salma Shaleh, Andreas Spechtl, Marcus Steinweg, Gisèle Vienne, Joseph Vogl, Clemens von Wedemeyer, Joanna Wozny

268 Pages / 190 Images / 230 x 300 mm / German & Englisch
The Green Box, Berlin, 2017
ISBN 978-3-941644-97-7
For orders: www.steirischerherbst.at/Shop
For media information: presse@steirischerherbst.at
For more information on the festival and the complete programme please visit: www.steirischerherbst.at
The presentation of the book will take place at steirischer herbst festival in Graz: On October 12 & 13, Where Are We Now? will be asked during an eponymously named “philosophical canteen” that will look at the question in various artistic and theoretical ways. Book editor Christiane Kühl as well as artists and theorists-among them Heidi Ballett, Clémentine Deliss, Tim Etchells and Marcus Steinweg-will take part.

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25. Franklin Furnace at Robert Miller Gallery, Manhattan, Sept. 19

Art511 Magazine invites you to its Launch Party!

Tuesday, Sept. 19th
6-8 pm/ 8-11pm afterparty
@ the Robert Miller Gallery space
524 W. 26th St. West Chelsea

Join us for a free flowing evening of provocative and disruptive visual extravagancies. The Rober Miller Gallery space will be filled with performances, video art, spoken word poetry, vending, live music and dance in celebration of ART511 Magazine’s online debut and official launch. We believe in reflecting authentic and radical voices of the emerging in the art world today. We present the public with an experience that will set the standard for our independent publishing platform as a committed venture to reporting on art and culture that matters.

This is a free and public event, with refreshments and afterparty.

Participating Artists :
Jessie Tu: Aandaz
Laura Ahuamada
Matilde Alessandra
LaThoriel Badenhausen
Kelsey S Brewer
Katie Cercone
Alex Halbert
Alexis Palmer Karl and Aksel Stansey
Christian Koumtog
Jaime Lee Lewis
Libby Mislan ft. Eldad Arad
Mirena Rhee
Arlene Rush
Savana Barrett: Savana Collection
The Shrinks
Jackson Taylor
Zelene Pineda Suchilt aka Rebelene
Zoe Map

DJs:
Uptown Vinyl Supreme : DJ Sunny Cheeba and DJ Buddy
MegManMusic

Art Organizations:
Artbridge
ART START
Bureau of General Services: Queer Division
Critical Practices Inc.
Culture Push Inc.
Franklin Furnace
Knockdown Center
Lambda Literary Foundation
Max’s Kansas City Project
Mono No Aware
New York Foundation for the Arts
PEN America
POWRPLNT
Wild Project
Visual AIDS

Special Thanks to Jerome Lamaar, Kevin Nuñez, and the ART511 MAG Team, and our sponsors Robert Montgomery, Artisan Brands LLC, Sti Signature Spirit Group, Tambour Original, Miolo Wine Group USA, and Chopper Kings Original Bikers Beer, Smuttynose Brewing Company, Newscast, Peter Glebo, Gloria Naftali, the West Chelsea Building LLC, and Blick Art Materials.

As a contemporary, national and international publication, Art511 Magazine is committed to reporting on a wide range of arts discourse related topics – contemporary, creative, current, cultural, interdisciplinary and esoteric. Its very name a spin on the number 511 as a numeric offering civic “information” (as with 911, 311, and 411 depending on location), Art511 is a valuable hub of information serving a global constituency. Our publication is one of the few independent, critical voices in the arts, and prides itself in being shaped by a liberal notion of global art citizenship fused with the composite cultural worldview of our diverse, international contributor base. Our writers offer sharp, accessible and unique insight into the current art issues and events most relevant to our evolving era. Progressive in nature, Art511 makes contemporary art news relevant and relatable.

Founded in 2016 in NYC West Chelsea Arts district, a global epicenter for contemporary art, Art511 Magazine is an international contemporary arts online publication featuring incisive critical writing and information from our hubs based in New York City, Los Angeles, San Francisco, Boston and beyond.

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26. Jamie Martinez, FF Member, at Fire Proof East Gallery 104, Brooklyn, opening September 22

“Transcendence of Us” @ Brooklyn Fire Proof East’s Gallery 104
September 22 – September 24th, 2017

Opening Reception – Friday, September 22, 6 to 9 pm

Artists include: Ethan Boisvert, Susan Carr, Thomas Burr Dodd, Danielle Draik, Gordon Fearey, Abby Goodman, Tim Gowan, Leah Harper, Clinton King, Annesta Le, Jamie Martinez, Nao Matsumoto, Seren Morey, Meer Musa, Sharilyn Neidhardt, Colin Radcliffe, Nicolas Rispoli, Seth Ruggles, Mike Serafino, Kurt Steger

The TRANS-CEN-DER Art Group is proud to present Transcendence of Us, a group exhibition featuring new works from select artists who have previously presented at our group’s monthly lecture series. The exhibition supports trans-cen-der’s mission: celebrating the diversity and variation in our local art scene.

The show, curated by Tim Gowan and Meer Musa, will take place at Brooklyn Fire Proof East’s Gallery 104, (next to Temporary Storage) and will run through the 2017 Bushwick Open Studio weekend, from September 23rd through September 24, 2017.

This show is made possible through the generosity of our friends at Brooklyn Fire Proof.

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27. Anna Banana, FF Alumn, at Kunstverein Toronto, Ontario, Canada, thru Oct. 14 and more

EXHIBITION SCHEDULE
Anna Banana 2017

Exhibit: Sept 22-Oct.14th Kunstverein Toronto
Closing party Friday Oct.13th
Mulherin Gallery, 1086 Queen St W,
TORONTO, ONTARIO CANADA M6J 1H8
I arrive Toronto – Oct. 10

Oct.12 Art Metropole – Reading/Book Signing
Danielle St Amour – director of Art Metropole –
1490 Dundas Street West
Toronto, ON M6K 1T5

Oct.21 Kunstverein Amsterdam Opening
Hazenstraat 28,
1016 SR Amsterdam +31 (0) 20 3313203

Oct. 23 Sandberg Instituut – Maxine Kposa
a.m. artist talk, p.m. workshop
Overschiestraat 188
1062 XK Amsterdam (visit)
Fred. Roeskestraat 98

Oct. 24-5-6 Rod Summers/Maastricht/mail-artist
talk/interview/garden inspection

Photos from ArtGalleryGreaterVictoria & OpenSpace exhibitions at:
http://www.weeda.com/News/Newsletter.aspx?ID=358
First speaker on the: Ex-Postal Facto Panel 2014 at San Francisco Public Library at:
https://www.youtube.com/watch?v=wQeeOUYw7T0

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28. Clifford Owens, Dread Scott, FF Alumns, at MoMA, Manhattan, Sept. 20

Dear Friends and Colleagues:

Please join me, Dread Scott, Sanford Biggers, Kamau Patton, Demetrius Oliver, and Juini Booth for a Lone Wolf Recital Corp performance (“A Living Space”) at the Museum of Modern Art on September 20, 2017. Please see link below:

https://www.moma.org/calendar/events/3481?locale=en

Best,
Clifford

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29. Martin Wong, FF Alumn, at Berkeley Art Museum and Pacific Film Archive, CA, September 20-Dec. 10

Martin Wong
Human Instamatic

September 20 – December 10, 2017
Berkeley Art Museum and Pacific Film Archive
University of California, Berkeley, CA

A major exhibition of work by Martin Wong opens at the UC Berkeley Art Museum and Pacific Film Archive (BAMPFA) this fall, marking the acclaimed Chinese American artist’s first comprehensive retrospective since his untimely death in 1999. Martin Wong: Human Instamatic features more than 100 works by Wong, whose singular aesthetic captures the rhythms of life in the multicultural urban communities he inhabited. BAMPFA’s exclusive West Coast presentation of the touring retrospective features an expanded roster of work that highlights the artist’s formative emergence in the Northern California art scene of the 1970s.
Martin Wong: Human Instamatic surveys the large and eclectic body of work the artist produced over the course of a prolific thirty-year career that was tragically cut short by his death from AIDS-related causes. Though Wong is typically associated with the thriving art scene that emerged in New York’s Lower East Side during the 1980s, he grew up in San Francisco’s Chinatown and began his practice as a street artist working in San Francisco and Eureka, California. The BAMPFA exhibition highlights many rarely seen works that Wong produced during this early period, including set designs for San Francisco’s psychedelic theater troupe the Cockettes, calligraphic poems that reference the artist’s Chinatown upbringing, and a series of portraits that Wong sold to passersby on the streets of Eureka under the nickname “Human Instamatic.”
To view the full press release as well as more information on the exhibition, please visit BAMPFA’s website.

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30. Tehching Hsieh, Linda Montano, Claes Oldenburg, Richard Serra, Andy Warhol, FF Alumns, in The New York Times, Sept. 14

The New York Times
ART & DESIGN | ART REVIEW
When Dealers, Too, Were Romantics
By KAREN ROSENBERG
SEPT. 14, 2017

“Dealers are as important as the artists themselves,” the gallery owner Leo Castelli once said. “He cannot exist without us, and we cannot exist without him.” Gendered language aside, Castelli’s remark captures the fragile symbiosis between those who make art and those who sell it.

Lately, however, dealers have been having trouble keeping up their end of this relationship – that is to say, just existing. Each month seems to bring a new closing announcement from an adventurous small or midsize gallery hobbled by, among other things, rising rents and multiplying art-fair expenses. In August, for instance, the dealer Jean-Claude Freymond-Guth circulated a candid letter announcing the demise of his nine-year-old Zurich gallery – citing, in place of the usual moving-on platitudes, “the consequences for art in an increasingly polarizing society ultimately built on power, finance and exclusion.”

Into this anxious moment comes a wistfully romantic portrait of the postwar dealer Richard Bellamy, a passionate advocate for contemporary art and a notably indifferent businessman. “Deadeye Dick: Richard Bellamy and His Circle,” at Peter Freeman, Inc., lionizes Bellamy and his bohemian milieu – emphasizing the brief early-1960s tenure of the Green Gallery he founded on West 57th Street – while inviting some cleareyed judgments about the realities of running a gallery today.

Bellamy, who died in 1998 at 70, saw himself not as an entrepreneur, but as “an observer who just happens to be in a position to give exhibitions to people.” Yet his best years were, as Mr. Freeman recalled during the show’s installation, “the moment when the art market as we know it today came to be.”

Speculative collecting, artist-poaching and frothy press coverage were as much signs of the times as Bellamy’s thrift-store outfits, afternoon benders and unheated Lower East Side apartments. The Green Gallery would not have been in business without the backing of the taxi magnate Robert Scull and his wife, Ethel, who would scandalize the art world a decade or so later with a high-profile auction of works from their contemporary art collection that looked like greedy profit-taking to the artists they had supported. (“Deadeye Dick” nods to the Sculls in a set of mischievously Warholesque portraits by Michael Heizer.)

Organized by Judith Stein, whose evocative biography of Bellamy, “Eye of the Sixties,” was published last year along with a collection of the his correspondence edited by his son Miles, the show is a vivid affirmation of Bellamy’s “eye.” If the book, which delves into his drinking and his troubled relationships, can make him seem like a tragically contrarian figure – “the wrong man at the right time,” as the painter Larry Poons put it – the exhibition lets us judge him on the merits of his discoveries.

They include Donald Judd, Dan Flavin and Claes Oldenburg, who all made their New York solo debuts at the Green. They’re represented at Freeman by audacious early works like Mr. Oldenburg’s “Giant Blue Men’s Pants” from his 1962 outing, a pair of enormous painted-canvas slacks casually draped over a hanger; and Mr. Flavin’s 1964 light piece “a primary picture,” made of red, yellow and blue fluorescent bulbs arranged to resemble an empty frame. “Deadeye Dick” almost makes you feel like you’re encountering these pieces for the first time – a rare feat, given the current blue-chip status of these artists and their hushed presentation in big museums and mega-galleries.

Other, less familiar names are given equal billing, which is heartening because it would have been all too easy to convene a winners-only exhibition. A 1956 wood, gravel and metal relief painting by Jean Follett (one of few women on the Green roster) makes an earthy, Jean Dubuffet-like impact. And the painter and critic Sidney Tillim pays tribute to his fellow art writer Clement Greenberg in his mysterious allegory “Who Among Us Really Knows? Or Greenberg’s Doubt,” from 1969.

Portraits of Bellamy are here too, attesting to his intensity and charisma. He sat for Alex Katz in a kind of attentive slouch, head cocked just slightly and shoulders askew. Not here, alas, is Roy Lichtenstein’s painting of a military officer musing in a speech bubble: “I am supposed to report to a Mr. Bellamy. I wonder what he’s like.”

How might we characterize Bellamy’s taste, on the basis of “Deadeye Dick”? Early works by Robert Morris, Richard Serra, Bruce Nauman and Mark di Suvero (the subject of the Green’s first solo, and one of just a handful of artists Bellamy represented at the time of his death) evince an intuitive response to sculpture. His painting sensibilities are harder to define, with bracingly austere abstract works by Mary Corse, Myron Stout and Jo Baer offset at Freeman by the helter-skelter figuration of Jan Müller’s “Temptation of Saint Anthony” (1957).

A selection of ephemera confirms that Bellamy was way out front in fostering participatory and performative projects like Oldenburg’s pop-up “Store” on the Lower East Side (1961) and the duo of Tehching Hsieh and Linda Montano’s “Art/Life One Year Performance” (1983-4), conducted partly in Bellamy’s final gallery venture, Oil & Steel, which began in TriBeCa.

When it came to closing deals, however, Bellamy lagged behind contemporaries like Sidney Janis and Castelli. “There was no real thinking about the business aspect, or what a stable of artists means, or what a dealer does to promote them apart from sitting there and trying to sell a painting every time someone asks the price of it,” Bellamy later acknowledged. Often in the Green Gallery years, Ms. Stein writes, he wasn’t even “sitting there”; he was napping in the back room, or out at a bar, having taken the gallery’s phones off the hook.

How would this reluctant salesman have fared in today’s hyper-professionalized art world, our society, per Mr. Freymond-Guth, of “power, finance, and exclusion”? Would Bellamy have scouted studios in Mexico City and Berlin, opened a branch in Los Angeles and another in Brussels? Would he have done all the fairs, monitored the contemporary auctions, wooed new collectors on Instagram, hired a public relations team?

I think we know the answer.

Correction: September 16, 2017
A review on Friday about “Deadeye Dick: Richard Bellamy and His Circle,” at Peter Freeman, Inc., misspelled the surname of an artist whose work is featured in the exhibit. She is Jean Follett, not Follet. The article also misstated the number of artists Richard Bellamy represented at the time of his death. He represented several, not just one.

Deadeye Dick: Richard Bellamy and His Circle
Through Oct. 28 at Peter Freeman Inc., Manhattan; 212-966-5154, peterfreemaninc.com.

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31. Kyong Park, FF Alumn, at Asia Culture Center, Gwangju, Korea, thru Jan. 14, 2018

Kyong Park
Mine, Ours, and Yours: Borders, Territories, and Unions
Imagining New Eurasia Chapter 3
August 11, 2017-January 14, 2018

The End of New Eurasia: September 23, 8-10pm, Kyong Park discusses Imagining New Eurasia project, followed by a closing party
RAT School of ART, Seoul

Asia Culture Center (ACC)
38, Munhwajeondang-ro, Dong-gu
ACC Creation, Space 1
61485 Gwangju
Republic of Korea
Hours: Tuesday-Sunday 10am-6pm,
Wednesday and Saturday 10am-7pm

T +82 1899 5566

imaginingneweurasia.org
www.acc.go.kr
www.grahamfoundation.org

Mine, Yours and Ours: Borders, Territories and Unions is a research-based visualization on how people, culture and states have navigated their own existence, or could, in the spaces and times of Eurasia. As virtually every place in Eurasia was occupied by more than one ethnic group, language, or religion through its history, the exhibition highlights the ephemeral certainty of place-based identity of culture and history. It challenges the stasis of territories, while endorsing the integrative quality of the border over its divisional mandate. It inspects the contestations between the reality of distinction and promises of commonality that have marked the territorial composition of Eurasia.
Mine, Yours and Ours: Borders, Territories and Unions is the third and final exhibition of a three-year long project called Imagining New Eurasia, by Kyong Park (2015-18). “Imagining New Eurasia is a project to research the historical precedents of Eurasia and visualize its contemporary reconstruction as one continent. The first exhibition Here, There and Every Where: Eurasian Cities looked at the cultural terrain of Eurasia through the localized lens of distinct “places,” through their urban transformations, cultural exchanges and economic interactions. The second exhibition, From, To and In Between: A Theater of Networks visualized the ways in which the Old Silk Road, the New Silk Road, and other routes have constructed a grand network that shaped and defined Eurasia since ancient times. The project is commissioned by, and exhibited at the Asia Culture Center in Gwangju, South Korea. A book under the same title will be published in late 2018, supported by the Graham Foundation for Advanced Studies in the Fine Arts.

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32. León Ferrari, Nao Bustamante, FF Alumns, at REDCAT, Los Angeles, CA, thru December 17

León Ferrari
The Words of Others
Rhetoric in Times of War
September 16-December 17, 2017

REDCAT
631 West 2nd Street
Los Angeles, CA 90012
USA
Hours: Tuesday-Sunday 12-6pm

www.redcat.org

The Words of Others: León Ferrari and Rhetoric in Times of War is the most significant solo exhibition of work by Argentinian artist León Ferrari (Buenos Aires, 1920-2013) in the US and features the first full performance of his seminal 1967 publication Palabras ajenas (The Words of Others).

The exhibit focuses primarily on Ferrari’s influential practice from the 1960s to the 1980s, with a particular emphasis on Ferrari’s literary collages, most notably Palabras ajenas, an important Vietnam era anti-war piece written in the form of a dramatic script. Ferrari created the work by cutting and assembling texts and quotations from various sources, including news agencies, history books, the Bible, and speeches by such political and religious figures as President Lyndon B. Johnson, Robert McNamara, Pope Paul VI and Adolph Hitler.

The September 16 durational performance in the theater at REDCAT is the first time the entire piece will be performed. Partial readings have been held at the Arts Lab in London (1968) and in Buenos Aires at the Larrañaga Theater (1972). A cast of 30 readers will create a “chorus” of contemporary voices to interpret the text, which represents an essential political piece in Ferrari’s body of work. Ferrari’s literary collages share the experimental impulse of figures such as Julio Cortázar and Bertolt Brecht in literature and theater, as well as the political unrest of the counterculture movement of the 1960s.
The exhibition features several of Ferrari’s fundamental early works, including Carta a un general (Letter to a General) (1963), Dios (God) (1964) and El árbol embarazador (The impregnating tree) (1964), along with numerous later pieces, such as Juicio Final (Last Judgment) (1985), Relecturas de la Biblia (Re-readings of the Bible) (1984-88), Congreso (Congress) (2002) and Hongo nuclear (negro), (Nuclear Fungus (Black)) (2007), which trace a history of war and political and religious aggression. In addition, an extensive repertoire of documents are included in the exhibition.

Two new publications accompany the exhibition: a bilingual catalog published by JRP|Ringier, including new critical essays that analyze Ferrari’s relationship with theatrical experimentation, photojournalism, religious iconography, and figures of power and authority of the 1960s and 1970s. REDCAT and X Artists’ Books have published the first complete English edition of The Words of Others.

Curators: Ruth Estévez with Miguel A. López and Agustín Díez Fischer
Public program:
Performance: The Words of Others
September 16, 1-8pm
Direction, dramaturgy and set design: José A. Sánchez, Juan Ernesto Díaz and Ruth Estévez
Translation: Jen Hofer with Tupac Cruz and Román Luján (Antena)
Associate researcher: Carmen Amengual

Readers: Edgar Arceneaux, Camila Ascencio, Rafael López Barrantes, Samantha Bartow, Nao Bustamante, José Luis Blondet, Marissa Chibas, Ashlyn Delaire, Carlo Figlio, Jessica Fleischmann, Andrea Fraser, Charles Gaines, Alexandra Grant, Jen Hofer, Ashley Hunt, Rett Keeter, Daniel Lavery, Mireya Lucio, Michael Ned Holte, Roberto Martin, Fernando Mitre, Paige McGhee, Alyxaundrea Munson, Silke Otto-Knapp, Mac Rasmus, Christopher Rivas, Juan Rivera, Connie Samaras, Hannah Trujillo and Kristin Wetenkamp

Special thanks to the School of Theater at CalArts.
Lecture: Bojana Cvejić. “When WAR was the Political Unconscious of DANCE”
November 21, 2017, 7pm
Conversation: Marc Cooper and Suzi Weissman. “Media and Democracy: From the Vietnam War to the Consolidation of ‘Alternative Facts’ in the Digital Era.”
December 5, 2017, 7pm
Exhibition itinerary:
Pérez Art Museum Miami: February 16-August 12, 2018
The exhibition is part of the Getty-led Pacific Standard Time: LA/LA, a far reaching and ambitious exploration of Latin American and Latino art in dialogue with Los Angeles.
Major support for this exhibition is provided through grants from the Getty Foundation.
Special thanks to Fundación Augusto y León Ferrari Arte y Acervo (FALFAA), for their support and for providing access to León Ferrari’s archives over the years. Special thanks to Silvia and Hugo Sigman Collection, Sicardi Gallery, María Cristina and Pablo Henning collection, Dr. Carlos Bacino collection, Houston and Allison and David Ayers collection.

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33. Karen Shaw, Emma Amos, Sean Leonardo, jc lenochan, FF Alumns, at St. John’s University, Hillcrest, Queens, NY, opening Sept. 22

Karen Shaw, Emma Amos, Sean Leonardo, jc lenochan, FF Alumns, in Diamonds, Rings & Courts: Sport Is More Than a Game at St. John’s University Gallery, Sept. 22.

Group exhibition including work by:
Karen Shaw
Gina Adams
Emma Amos
Holly Bass
Derek Fordjour
JEFF&GORDON
Dave Johnson
Shaun Leonardo
jc lenochan
Andrea Katz
Ray Materson
Leah Modigliani
Maria Molteni
Cheryl Pope
Ronny Quevedo
Jean Shin
Kevin J. Varrone
Lee Walton

Please join us for the reception on Friday September 22 4:30 -6:00.
The culture. mythology, legends and tragedies of sports are deeply embedded in our daily lives and many artists have appropriated its language as a starting point to create works that range from experiments in pure aesthetics to complex social/political investigations. The artists in this exhibition repurpose and deconstruct the ubiquitous language and symbolism of sport. Reception Friday September 22 from 4:30 PM. Exhibition September 5- November 17, 2017. Dr. M. T. Geoffrey Yeh Gallery, Sun Yat Sen Hall, St. John’s University, 800 Utopia Parkway, Queens, NY 11439

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34. Simone Forti, Yvonne Rainer, FF Alumns, in PAJ issue 117

Now Available: PAJ: A Journal of Performance and Art, Issue 117 (Vol. 39.3)
**20% Off Individual Subscriptions with Promo Code PAJ116 (expires September 30).**

Articles
A Truncated History of the Universe for Dummies: A Rant Dance
Yvonne Rainer

Film Acting and Performance Capture: The Index in Crisis
Philip Auslander

Red Beads: A Performance Poem
Lee Breuer

537 Broadway: Performance and Buildings
Agustin Schang

Political Theatre Between Wars: Staging an Alternative Middle East
Sahar Assaf

Art & Performance Notes
Robert Lepage in Double Time: Technics and Media in the Interim
Joseph Cermatori

Most Precise Experiments
Matthew Goulish

Politicizing Obscenity
Joan Hawkins

Play
The Many Worlds of Etel Adnan
Klaudia Ruschkowski

At a Certain Hour of the Night
Etel Adnan

Books & Company: Short Reviews
Philosophy and Theatre: An Introduction
David Kornhaber

Dramaturgy in Motion: At Work on Dance and Movement
Phoebe Rumsey

Radical Bodies: Anna Halprin, Simone Forti, and Yvonne Rainer in California 1955-1972
Holly Taylor

and

Simone Forti Workshops: Body Mind World, Oct. 19-20 & Simone Forti, Steve Paxton, Yvonne Rainer: Tea for Three, Oct. 26-28

at Danspace Project, 131 E. 10th St. NYC 10003 danspaceproject.org

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Goings On is compiled weekly by Harley Spiller

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