FCA is pleased to hold this fund-raising sale of more than 200 photographic works, in all price ranges. Proceeds will benefit FCA's programs.

The Foundation thanks: A-Z Art Framing Inc., Chelsea Frames, City Frames, Cohan and Leslie, Dianella Printing, ESI Design, Fred Worden Trucking, The Grenfell Press, Handmade Frames, Hope Frames, Jonah Frameworks, Minagawa Art Lines, Etheleen Staley, Universal Limited Art Editions and the many other contributors to this benefit exhibition.

Contributing Artists:
Marina Abramovic
Robert Adams
Simon Aldridge
Shigeo Anzai
Tateyuki Aoyama
Diane Arbus
John Baldessari
Roger Ballen
Tom Bamberger
Tim Barber
Matthew Barney
Uta Barth
Adam Bartos
Samantha Bass
Lillian Bassman
Paul Bauman
Lawrence Beck
Richard Benson
Tanyth Berkeley
Cindy Bernard
Sasha Bezzubov & Jessica Sucher
Dianne Blell
Erika Blumenfeld
Corinne May Botz
Frank Breuer
Bruce High Quality Foundation
Andrew Bush
Elinor Carucci
Paul Chan
Anne Collier & Matthew Higgs
Lois Conner
Jessica Craig-Martin
Gregory Crewdson
Sarah Crowner
Lynn Davis
Sue de Beer
Nancy de Holl
Jimmy De Sana
Joe Deal
Tacita Dean
Jay DeFeo
Katrina del Mar
John Delk
David Dempewolf
Liz Deschenes
Mark Dion
Willie Doherty
Carroll Dunham
Michael Dweck
Shannon Ebner
Keith Edmier
Arthur Elgort
Larry Fink
Eric Fischl
Anthony Friedkin
Ron Galella
Sally Gall
Anna Gaskell
Robert Gober
Nan Goldin
Bill Goldston
Daniel Gordon 
Amy Granat
Katy Grannan
Timothy Greenfield-Sanders
Joel Grey
Joseph Grigely
Janice Guy
Tamar Halpern
Jane Hammond
Stuart Hawkins
Jay Heikes
Todd Hido
Stephen Hilger
Taishi Hirokawa
Dana Hoey
Naoki Honjo
Roni Horn
Jonathan Horowitz
Peter Hujar
Tim Hyde
Gerald Incandela
Jamie Isenstein
Matthew Day Jackson
Bill Jacobson
Pirkle Jones
Matt Keegan
Lisa Kereszi
Jon Kessler
Chris Killip
Kimsooja
Laura Kleger
Akira Komoto
Jeff Koons
Aaron Krach
Daniel Kramer
Barney Kulok
Bruce LaBruce
Karl Lagerfeld
Annika Larsson
Evelyn H. Lauder
Louise Lawler
Deana Lawson
Leigh Ledare
Margaret Lee
Annie Leibovitz
Zoe Leonard
Les Levine
Gerard Malanga
Janet Malcolm
Mary Ellen Mark
Taiji Matsue
McDermott & McGough
Adam McEwen
Megan McLarney
Patrick McMullan
Steven Meisel
Susan Meiselas
Jonas Mekas
Ohad Meromi
Joel Meyerowitz
John Miller
Matthew Monteith
Carter Mull
Laurel Nakadate
Billy Name
James Nares
Bruce Nauman
Jen Nelson
Shirin Neshat
Roger Newton
Catherine Opie
Ellen Phelan
Chloe Piene
Jack Pierson
John Pilson
Darryl Pottorf
Rob Pruitt
Adam Putnam
Eileen Quinlan
Sara Greenberger Rafferty
Robert Rauschenberg
Andreas Rentsch
Pipilotti Rist
Herb Ritts
Alex Robbins
Halsey Rodman
Aura Rosenberg
Amanda Ross-Ho
Mika Rottenberg
Helen Rousakis
Paolo Roversi
Ed Ruscha
Q. Sakamaki
David Salle
Victoria Sambunaris
Melanie Schiff
Carolee Schneemann
Carole Seborovski
Cindy Sherman
David Benjamin Sherry
Toshio Shibata
Laurie Simmons
Jonathan Smith
Kiki Smith
Lindy Smith
Sharon Smith
Doug and Mike Starn
Bert Stern
Kunie Sugiura
Billy Sullivan
Donald Sultan
Larry Sultan
Judy Tomkins
Tseng Kwong Chi
Hiromi Tsuchida
Deborah Turbeville
Cy Twombly
Yoshihiko Ueda
Sara Vanderbeek
Francesco Vezzoli
Massimo Vitali
Stephen Vitiello
Wang Jianwei
Andy Warhol
Oliver Wasow
Albert Watson
Bruce Weber
William Wegman
Matthew Weinstein
James Welling
Will Wendt
Robert Whitman
Jane and Louise Wilson
Robert Wilson
Terry Winters
Bing Wright
Rob Wynne
Mark Wyse
Yosuke Yamahata
Robert Yarber
Karen Yasinsky
And Others

Foundation for Contemporary Arts | 820 Greenwich Street | New York, NY 10014

www.foundationforcontemporaryarts.org

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9. Matt Mullican, FF Alumn, in The New York Times, Nov. 16, and more

The New York Times
November 16, 2008
Mapping an Imagined Order, Page by Page
By DOROTHY SPEARS

MATT MULLICAN loves to scribble. “This is my studio,” he said on a recent morning, gesturing around the fluorescent-lighted space in Lower Manhattan that serves as a workshop, office, storage room and clearinghouse for his artwork. “But I don’t really work here. My studio is in my notebook, and where I travel.”

As if to prove the point, he plucked a sketchbook off a metal bookshelf and opened it.

A Christmas gift from his parents dated Dec. 26, 1970, it was filled in a single day by Mr. Mullican, now 57, when he was still a high school senior. A miniature tour of Pop Art history, it is strikingly precocious.

Inside, a colored-pencil sketch of a spoon dunked in coffee uncannily channels Claes Oldenburg. Contour drawings of a fountain pen and a pencil mimic the spirit and stylish lines of Andy Warhol. A series of drawings depict both the ingredient (lighter fluid) and the tool (a spoon) used for Robert Rauschenberg’s famous photo-transfer process.

And yet the elongated scrawl of the artist’s own name and a drawing of an automobile juxtaposed with the words “fast car” written in the shape of a vehicle, is all Mr. Mullican.

“I used to be really into Formula One race cars,” he said. Judging from the way his drawings correspond to the words alongside them, he was also clearly interested in exploring how both pictures and words trigger human responses.

Mr. Mullican’s high school notebook foreshadows what has become for him a career-long investigation: How do we all insert ourselves into the imagery that bombards us every day? Why does the pain of another person, or even a stick figure, become our own? What is the basis of human empathy? How can thoughts and emotions be communicated visually?

“It’s all about projection,” Mr. Mullican said. “I’m sitting in front of you now, and you’re seeing me. But you’re also seeing lots of other things, based on your own experiences.”

This “subject-object” divide, as it is known in philosophical circles, is nothing new, according to João Ribas, a curator at the Drawing Center in SoHo. But what intrigues him about Mr. Mullican’s work, he said, was “the way Matt attempts to collapse this split through the medium of drawing.”

That process is explored in “Matt Mullican: A Drawing Translates the Way of Thinking,” an exhibition that opens Friday at the center. Featuring more than 100 artworks made over 35 years, it includes Mr. Mullican’s stick-figure sketches, videos of him drawing while under hypnosis, large-scale rubbings based on original works on paper that have since been photocopied and cut out, and vitrines displaying — you guessed it — notebooks.

“Matt always carries a notebook around,” said the artist John Baldessari, the master of California conceptualism and a former teacher to Mr. Mullican. “He’s always jotting things down. He has a very fertile imagination.”

Mr. Mullican has been traveling quite a lot in recent months. In September and October, for example, a mini-retrospective of his mixed-media work at Gallery Klosterfelde in Berlin overlapped with a show of his monumental rubbings at the Karsten Schubert gallery in London. He is also one of 40 artists from 20 countries exhibiting at the São Paulo Biennial in Brazil through Dec. 6.

Mr. Mullican’s mad-scientist-style musings have taken a variety of forms, from virtual tours conducted via computer and 3D goggles to color-coded charts, banners, maps and architectural models. Etched granite sculptures commissioned by, among others, the Metropolitan Transit Authority in New York, the Swiss Bank Corporation and Middlebury College in Vermont are chock full of ideas about how the universe is ordered. And in decades of performances given while under hypnosis, Mr. Mullican has consistently exposed the private realm of his unconscious to public scrutiny in the hope of tapping universal patterns of behavior.

These performances typically begin when the hypnotized Mr. Mullican shuffles out onto the stage, dazed and squinting. But by the time they end, he has often managed to draw an array of words and symbols on an enormous sheet of paper. “I would never say what is the basis of my work,” Mr. Mullican said. “That’s too big a statement.” But he will allow that, “to a degree, drawing is at the core of my practice.”

Drawing, that is, and talking.

Mr. Mullican’s fascination with both dates back to his early childhood. Born in 1951 in Santa Monica, Calif., to Luchita Hurtado, a Surrealist painter from Venezuela, and the American painter Lee Mullican, he recalls that, “before I could even talk, I would see my father put a painting on the wall to discuss it with friends.” Mr. Mullican’s response as a toddler was to make a drawing of his own and stick it on the wall. Inevitably the drawing would fall, he said, and he would stand before an empty wall, spouting gibberish.

In spite of his parents’ artistic pedigrees — Morris Graves, Mark Tobey and Isamu Noguchi were among their long Who’s Who of artist friends — the family was often financially strapped. In an effort to economize, they moved in 1955 to Caracas, Venezuela, where Mr. Mullican said, “I spoke only Spanish, and forgot all of my English.” Then in 1956 they resettled in New York City, and, he said, “I relearned English and forgot all my Spanish.”

To make sense of his linguistic upheaval, Mr. Mullican began piecing together the signs and symbols of distant cultures and multiple time periods in much the way that his father, a cartographer for the United States Army during World War II, had learned to translate vast bodies of land and sea into an intricate series of pattern and lines.

He was also influenced by his parents’ collection of Oceanic and tribal art. New Guinea architectural posts, Navajo rugs and totem poles purchased cheaply during the family’s extensive travels “just filled up the house,” he recalled.

“Every single object depicted some kind of cosmology,” he said.

In 1959, when his father won a Guggenheim fellowship, the family moved to Rome, and the young Mullican briefly dreamed of becoming an archaeologist. His parents took him to Pompeii, he said, and “I was totally into it.”

Back in Los Angeles he experienced an epiphany when he saw Mr. Oldenburg’s sculptures of a giant upside-down ice cream cone and a hamburger at Virginia Dwan’s gallery. Captivated by what he called “both the color, and the Surrealist idea of blowing up a small object into this big abstract thing,” Mr. Mullican became a devotee of Pop Art while amassing a collection of first-edition comic books.

Yet his itinerant upbringing took a toll. “My school record was horrible,” he said. Between his academic struggles and his mother’s insistence that he repeat 10th grade to avoid the Vietnam-era draft, he said, he was almost 20 when he graduated from high school. By that time he had already bought a Rapidograph pen and had filled notebook after notebook.

Before graduating he won a $1,000 college scholarship through a school art competition with his notebooks and large-scale drawings. An announcement was made over the school’s public-address system.

“I was such a nobody,” Mr. Mullican said. “Almost a nonperson. I had learned how to disappear. So that was an exciting moment for me.”

Buoyed, he entered the California Institute of the Arts in Valencia, where he befriended the artists David Salle, James Welling, Troy Brauntuch and Jack Goldstein and enrolled in Mr. Baldessari’s fabled “Post-Studio Art” course. Asked what he remembered best about the young Mr. Mullican, Mr. Baldessari said: “His mind. I couldn’t shut him off.”

For a student exhibition in their windowless third-floor classroom, he recalled, Mr. Mullican tacked a dried leaf to the wall. Then, positioning five students at strategic intervals inside and outside the building, Mr. Mullican handed each of them a mirror. By tilting the mirrors, they directed sunlight from outside, up the stairs, down a corridor, and onto the classroom wall, where Mr. Mullican used a magnifying glass to burn the leaf.

Reminded of this work, he laughed. “Oh, right,” he said. “That’s when I really got John’s attention.” The two remain friends, and collaborated on a project last spring at Tracy Williams, Mr. Mullican’s gallery in Greenwich Village.

Over the last three decades, Mr. Mullican said, he began exhibiting with high-profile dealers like Mary Boone and Barbara Gladstone. But because his cerebral multidisciplinary work has never been an easy sell, he said, he also began working with a large pool of dealers internationally. While commissions from schools, corporations and governments have helped him make ends meet, he said, his midcareer period has been something of a grind. “Once you go through that,” he said, “you’re humbled. It just tests your obsession.”

Yet recently, Mr. Mullican said, “people finally seem to be understanding what I’m up to.” Having seen one of his rubbings or a flag or a series of drawings at an art fair, he said, a member of the art cognoscenti may decide to call him up. Now that interest in his work has quickened, he is preparing for shows at the Stuk Kunstencentrum in Leuven, Belgium; the Haus der Kunst in Munich; and the Nouveau Musée/Institut d’Art Contemporain in Villeurbanne, France, near Lyon.

Mr. Mullican is at a loss to explain the flurry of exhibitions. At the same time, he said, he is feeling more mortal these days.

“It’s odd,” he said, shaking his head and sighing. “I’ve been doing this for what? Almost 40 years? Looking at your old work, you’re also looking at your life.”

Then his brow furrowed, and he grabbed a notebook. 

and

Matt Mullican: A Drawing Translates the Way of Thinking
The Drawing Center
35 Wooster Street
New York, NY 10013
Phone: 1-212-219-2166
Fax:  1-212-966-2976
Contact: Lisa Gold
lgold@drawingcenter.org
www.drawingcenter.org
November 21, 2008 – February 5, 2009
Opening Reception: Thursday, November 20, 6–8 pm
Gallery Talk: Friday, November 21, 6:30 pm

Gallery Hours:
Tue – Fri 10 am – 6 pm; Sat 11 am – 6 pm

The Drawing Center is pleased to present 'Matt Mullican: A Drawing Translates the Way of Thinking' in the Main Gallery. Featuring over 100 works from throughout his artistic career, including never-before-seen drawings, notebooks, rubbings, video, and mixed media installations, the exhibition will be the most comprehensive of Mullican's work in drawing in the United States to-date. 

For over three decades, Matt Mullican has created a complex body of work concerned with systems of knowledge, meaning, language, and signification. Ranging from schematic diagrams and arcane symbols to explicit text-based drawings, installations, and self-created cosmologies, Mullican's work classifies, orders, describes, maps, and represents an understanding of the world, using drawing to collapse the division between subject and object. 

Since the 1970s, Mullican has conducted performances and created drawings under hypnosis to investigate the nature of the subjectivity and identity. Mullican's practice ultimately confronts the nature of subjective understanding, rationality, perception, and cognition – proposing a 'picture' of the world articulated through the medium of drawing. This exhibition is curated by João Ribas, Curator, The Drawing Center. 

Matt Mullican was born in 1951, in Santa Monica, California and currently lives and works in Berlin. He received his B.F.A. from the California Institute of the Arts in 1974. His work has been featured in numerous solo and group exhibitions throughout the United States and in Europe. Recently, his work was included in the 2008 Whitney Biennial and has been exhibited at the Museum of Contemporary Art, Los Angeles (2005); Ludwig Museum, Cologne (2005); and Museu Serralves; Porto (2000). Mullican's work is the subject of an upcoming solo exhibition at the STUK Kunstencentrum in Leuven, Belgium (traveling to De Appel, Amsterdam and Haus der Kunst, Munich).

In conjunction with the exhibition, The Drawing Center will publish a 120-page edition of the Drawing Papers. 'Drawing Papers 82: Matt Mullican: A Drawing Translates the Way of Thinking' will include a conversation between the artist and exhibition curator, artist's writings from his 1970s notebooks, and approximately 60 color illustrations.

There will be a free Gallery Talk on Friday, November 21 at 6:30 pm with curator João Ribas in dialogue with Matt Mullican.

In addition, The Drawing Center will present a series of rarely-seen videos from the past 30 years featuring performances by the artist under hypnosis. Each screening will be introduced by a brief conversation between João Ribas and curatorial assistant Rachel Liebowitz. Seating is limited and will be available on a first-come, first-served basis.

Thursday, December 11, 6:30 pm
'A Lecture/Performance with Hypnosis,' The Kitchen, New York, 1981
Wednesday, January 7, 6:30 pm
'Performance Live - Under Hypnosis,' Culturgest, Lisbon, 2006
Wednesday, January 14, 6:30 pm
'Performance Live - Under Hypnosis,' Anton Kern Gallery, New York 2002
Saturday, January 24, 4:00 pm
'Performance Live - Under Hypnosis,' Tang Museum at Skidmore College, Saratoga Springs, New York, 2006

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10. Olivia Beens, FF Alumn, at Asian American Arts Centre, Manhattan, thru Jan. 10, 2009

Asian American Arts Centre Announces 

Metro Poles in Chinatown
October 14, 2008 to January 10, 2009

Special CMP reception Sat Nov 22  3pm – 5pm 
Next Walking Tour on Dec 5, starting at AAAC at 530pm.
Artist Talk at AAAC on December 5th Friday, 530-715pm
Reception for three sites at AAAC on December 5th 715pm – 900pm 
SEE PICTURES AND NEWS AT:
http://www.facebook.com/pages/Asian-American-Arts-Centre/28942631334
OR
http://www.artspiral.org/current.html

This Fall the Asian American Arts Centre joins in a cross-borough collaboration called Metro Poles occurring simultaneously in Jamaica, the Bronx & Lower Manhattan. Metro Poles in Chinatown marks the first time AAAC will partner with the Charles B. Wang Community Health Center & Chinatown Manpower Project & the Chatham Green Cooperative as installation sites for artists art works. This will open community institutions to the innovations and ideas of new art inviting a New York audience from Manhattan & other boroughs together with local people & residents.

At the Charles B. Wang Community Health Center from Oct 22 till Jan 10.  Clients & patients of the Health Center can view the art work of three artists, Katarina Wong, Wennie Huang, & Tamiko Kawata during their visit there. The general public is welcome during special limited hours to view the installations 630pm - 830pm on three dates - Oct 27, Nov 12 & Dec 5. (Generally, certain installations are easily seen – at the street level entrance, others, on the 2ed & 4th floors, require a certain discretion on the part of walk in viewers.)  Three Walking Tours will coincide with these dates starting at AAAC at 530pm. CBWCHC address is 268 Canal St & 125 Walker St.

At Chinatown Manpower Project from Oct 14 till Dec 5 (new dates) clients of Manpower as well as the general public can view the work of two groups of three artists, Olivia Beens, Wan Ling Li & Angela Valeria, with Tamara Gubernat, Laura Chipley & Francisca Caporali as the second group. Located at 70 Mulberry St, Manpower viewing hrs are 9 am-5pm, M-F, Sat 9-4pm. Special public reception Sat Nov 22  3pm – 5pm

The Chatham Green Cooperative, right across from the police barricade that keeps Park Row closed, artists Nathalie Pham, and Avani Patel, will enable community people, local school children, local artists and others to express in words and/or image their hopes for the Chinatown community. This is scheduled for (new dates) Nov 1 to Dec 13. Every weekend the artists will be on site to facilitate this. Stories, experiences, feelings & grievances of community people will have a chance to be aired on the panels of this outdoor site. Open Public Painting Sessions with the artists each Saturday from 11AM-4PM.  You can see the Chatham Green Cooperative, a long, curving building of 21 stories, where Mott St flows into Chatham Square and connects to Park Row. The wall of panels is on the fence at #165 Park Row.  To rouse community support and participation the slogan "藝匯唐人街" has been created, which means "A Gathering of the Arts in Chinatown", or "yi wei tang ren jie".

Artist Yo Park in January 2009 with the full cooperation of the NY Police Department, will create greater harmony by enabling community people to meet and chat informally over free tea & coffee with members of the police department.  The site for this will be named shortly – see updates on www.artspiral.org  

On December 5th Friday, 530-715pm audiences will be able to meet and hear the

artists  from all three sites speak.  This will be held at AAAC, 26 Bowery. Afterwards, immediately following this talk, a Reception will be held for all three sites from 715pm – 900pm.

Recommended is for audiences to visit installation sites and see the special feature of Metro Poles - continuous changes by succeeding artists -  see this before the December 5th final reception.

participating artists:
Katarina Wong Wennie Huang Tamiko Kawata
Olivia Beens Wan Ling Li Angela Valeria
Tamara Gubernat Laura Chipley Francisca Caporali
Nathalie Pham Avani Patel Yo Park

Metro Poles: Art in Action is a cross-borough collaboration with Jamaica Center for Arts and Learning (JCAL), Bronx River Arts Center (BRAC) & Maiden Lane Exhibition Space. In October & November 2008 over 50 artists, will debut new work almost simultaneously in the Bronx, Queens, and Manhattan. Curators are: Heng-Gil Han of JCAL, Jose Ruiz of BRAC & Bob Lee of AAAC. See the following to learn more about Metro Poles at JACL (718) 658-7400  http://www.jcal.org/visual_arts/programs.html, and at BRAC 718-589-5819  www.bronxriverart.org.  

Summary:

Chinatown Manpower Project from Oct 14 till Dec 5 M-F, Sat 9-4pm.

Charles B. Wang Community Health Center from Oct 22 till Jan 10, 2009; public viewing dates/hrs - 630pm - 830pm on Oct 27, Nov 12 & Dec 5.

Chatham Green Cooperative Nov 1 to Dec 13, 24/7 - Open Public Painting Sessions with the artists each Saturday from 11AM-4PM.

Special Auction for children's artwork from America's Chinatown Date TBA

Updates for January 2009 still to come!

If you are on Facebook you can click the following link and see  the AAAC Facebook page.  Becoming a fan is free, then you can receive automatic updates and news about AAAC events, dates, updates and other info.

http://www.facebook.com/pages/edit/?id=28942631334#/pages/Asian-American-Arts-Centre/28942631334 
for AAAC Blog see:  http://artspiral.blogspot.com/

Robert Lee
Exec. Dir/Curator
Asian American Arts Centre
26 Bowery 3fl
New York, NY 10013
212 233 2154
www.artspiral.org

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11. Robin Tewes, FF Alumn, in Hanging Loose, vol. #93

10 Paintings featuring Robin Tewes

Hanging Loose Press is a non-profit facility for literary and arts-related publications. They publish twice a year, poems and short fiction. They have received numerous awards, including a recent grant from the Literature Program of  the New York State Council on the Arts. HL #93 is please to feature 10 paintings by Robin Tewes. Robin Tewes is a New York painter, has had paintings in six issues of HL and has also created cover art for many HL books. Her own book, 26 Paintings is available from HL. Robin teaches at Pace University and Hunter College, represented by the Adam Baumgold Gallery, New York City and her work is exhibited widely. If you are interested in becoming a subscriber to our publication or purchasing these or any of our books please contact print225@aol.com or our website www.hangingloosepress.com or call 212-206-8465 for more information.

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12. Gigi Otalvaro-Hormillosa, FF Alumn, launches video blog

Gigi Otalvaro-Hormillosa, FF Alumn, and Heather Cox Carducci launch video blog

Hot Lezbos in Action!

This week's topic: Prop 8: Envisioning the End of Hypocrisy and Division

Please view it on the video sharing site you have an account with and comment if you feel compelled: 

Myspace:
http://myspacetv.com/index.cfm?fuseaction=vids.individual&videoid=46733313