Work|Progress: A benefit for the Dill Pickle Club

I’ve been following the Dill Pickle Club’s antics for a while now, and am happy to announce that I’m contributing a piece to their upcoming fundraiser at Eyeful Gallery.
For this show, I worked with the members of the band Dislexyss (full disclosure: my boyfriend and his best friend since kindergarten) to realize the manifestation of one of their album covers. You see, Dislexyss doesn’t actually produce a whole lot of music. They do, however, produce a lot of drawings for album covers. Notebooks full of them. When asked whether they’d be interested in working with me to bring one of the drawings out of the notebook and into the world, Shamanology was the first pick. Fans and supporters of Dislexyss are invited to stop by Eyeful Gallery during the month of December and pick up a limited edition mug/listening receptacle, ala Shamanology.
The Eyeful Gallery | 625 NW Everett #104
December 3 – January 3
Wednesday – Sunday 12PM – 6PM
Full details:

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Stock Sunday

After our idyllic tenure at Gallery Homeland, we’re moving Stock to PNCA this Sunday. Why? PNCA has chairs and tables on site! No more borrowing trucks and rousing volunteers to schlep 10 tables and 50+ chairs from all over the city and back.
This month’s artists include: Rachel Peddersen & Mia Nolting, Hannah Jickling and Lori Gilbert, Jolyn Fry, Nicole Lavelle, Public Social University, Michael Reinsch, Lisa Schonberg and Shawn Creeden, Sea Change Gallery, Shelby Davis and Crystal Schenk, Working Theatre Collective and Pete Yahnke.
We reached our max capacity for the event (111 people!) sometime around 8 PM today.
Off to the farmer’s market tomorrow to see what they have for us.

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Revolutions in Public Practice discussed

I’ve been following two different threads of discussion regarding the Creative Time Summit “Revolutions in Public Practice” that took place in NYC a week or so ago. The summit was a one-day conference where 35 different artists gave 30 minute presentations about their work at the NY Public Library.
The discussions I’ve been following are taking place on the Art Forum and Frieze Magazine blogs, respectively.
Public Opinion came out first. I’ve read other commentary by Claire Bishop before, such as her Antagonism and Relational Aesthetics as well as The Social Turn. I find her writing too vitriolic to seem helpful, but still interesting. Even more interesting to me is the conversations that go on around her writing, for example the entire thread found on the Leisure Arts blog here, here, and here.
After that healthy dose of cynicism, it was interesting to see the dialogue that showed up after the Frieze review, “Underneath the Nine-Hour-Long Conference, the Beach!”
I’d be interested to hear what other people think about this development.

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Other Sunday Soup Iterations

In this iteration of InCUBATE’s Sunday Soup, the InCUBATE people have teamed up with the group Material Exchange and artist Adam Bobette to open Repair Shop at CEPA Gallery in Buffalo, NY.
Repair Shop will host a bar, a soup kitchen and will also be open to repair physical objects. Money raised from repair fees and soup and alcohol fees will be awarded as a grant at the end of the show in December.

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RSVP for STOCK this Sunday

I realized that I haven’t posted about STOCK yet on Urban Honking –
Stock is a monthly public dinner event and presentation series, which funds small to medium-sized artist projects. I work on this project with two other individuals: Ariana Jacob and Amber Bell.
Hosted by Gallery Homeland in Portland, Oregon, diners pay a modest $10 for a dinner of homemade soup and other local delicacies and the chance to take part in deciding which artist proposal will receive the evening’s proceeds. In other words, the dinner’s profits immediately become an artists grant, which is awarded according to the choice of the diners. Winning artists will present their completed work at the following Stock dinner.
The last artists to receive a grant from Stock, Mariah Maines and Jess Hirsch, took home $500 in cash at the end of the evening. (!) They’ll be presenting on what they did with the money this Sunday.
In addition to the presentation, we will have six proposals vying to win October’s pot of gold from the following artists:

  • Tesar Freeman & Claire LaMont
  • Sandy Sampson
  • Anna Gray and Ryan Wilson Paulsen
  • Forrest Martin
  • Jamie Marie Waelchli
  • Abra Ancliffe

We’ll also be unveiling our new two-round (aka runoff) voting system.
Will you vote to fund start-up costs for a magazine, help an artist purchase supplies for a large-scale installation, support a stay-at-home lecture series, buy books for a specially curated library, pay artist fees for a talented-yet-unrecognized artist or assist in a campaign to remove a plaque from the park blocks?
RSVP to portlandstock at gmail dot com
When and where?
Sunday, October 18, 6-8 PM (do rsvp. dinner is first come first serve)
Gallery Homeland, SE 11th and Division

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Out of the Office

Tomorrow I’m leaving for a residency called Signal Fire. Unlike other residency programs where artists are invited to stay on privately owned land, Signal Fire hosts its artists in a mobile home at the end of a logging road in the Mount Hood National Forest. According to Tarp and Amy, the organizers at Signal Fire, I don’t actually have to accomplish anything during my stay. However, in daydreaming about how I’d like to spend my time, I couldn’t help but come up with an action plan.
For the residency, I have invited three friends and fellow artists, Michael Reinsch, Ariana Jacob and Eric Steen, to engage in a five day discussion and research project focused around the tensions associated with choosing vs. making peace with the communities we are a part of in contemporary culture. Michael, Ariana and Eric have been invited to co-develop and influence the sequencing of daily activities and have agreed to structure our residency like an adult summer camp with daily reading assignments, unstructured leisure time and campfire discussions in the evenings.
My inspiration for this research project has to do with a joke some friends have about people who they’d “invite to the farm,” as in the farm they plan to live on after the apocalypse. The format of the Signal Fire residency, with it’s parameters of isolation in the wilderness, reminds me of back to the land utopian ideals, and the complication of those ideals that arises when people attempt to live them in tandem with others. I’m interested in thinking about what it means to be someone worthy of being on the farm, and what implications that idea has to us as artists and citizens.
In a way, I’ve put together my own farm. I’m not sure that I can recommend these individuals for day to day post-apocalyptic survival, however they are friends of mine who have unique insights into what it means to walk the line between chosen and incidental communities.
Ariana Jacob’s parents raised her in a remote location in Canada for the early part of her life while they lived off of the grid and grew their own food. Starting her life removed from any specific community, Ariana has spent her adult life exploring what it means to make a community, participating in the music and art culture of Olympia, WA, working as part of the collective management team at People’s Co-op and using art projects to ask questions about what it means to belong in our society.
Eric Steen grew up in the tight knit world of evangelical Christianity in the Bay Area. In his work, he often explores the ways in which people outside of the Christian community manifest their beliefs in the greater common good. While not religious, the utopian visions, pedagogical methodologies, science fiction movies and beer drinking communities Eric explores in his art projects rely on some level of faith or the suspension of disbelief as a mechanism for creating an idealized world.
Michael Reinsch claims that his only experience of belonging to a community occurred during the five years he played trombone in the Marion County Citizen’s Band during Oktoberfest in Mt. Angel, Oregon. He attributes his feelings of alienation to his own lack of ability to perceive his connectedness to others and compensates for these feelings by creating performance pieces that resemble parties and festivals that only he is invited to fully participate in.
I recently ended a five year collaboration with a group of artists who worked together to create an entire country complete with passports, flags and a currency of love and friendship. Having completed that project, I am using this residency to continue researching group dynamics, conflict and intentional community building.
Below is a brief reading list we’ve compiled together and a list of activities we’ve talked about trying out. I’ll take some pictures and post them here later. Also, we will be participating in an exhibit of all of the inaugural season residents’ work at Igloo Gallery October 1.
Reading/Activity list: Chapters 1-2 Spell of the Sensuous, “Composting” from Writing Down the Bones, Drop City, Digging a latrine, Material Thinking Sh*t Boots (apparently aka sh*thead), helping Eric to learn to sit up straight, baritone ukelele performances, Interview between Jerry Brown and Ivan Illich, and telling our life stories in an hour or less.

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