April 21, 2008

Can I have my two weeks back?

I have been seriously busy lately, resulting in a large blog absence. Here are a couple of items I have been meaning to share:

1. Trevor Reese in Athens, GA - Trevor has an installation in Adventures in Mysticism at ATHICA. I flew down to suprise him for the opening, and as it turns out, he needed a helping hand. Several actually! (Thanks Ty, Motoko, Rusty, Joe, Euni, Mike and Rebecca!) It ended up taking us until 4 am the night before the opening to finish the piece, but it was worth it. Based on the legend of Mt. Rotui in Tahiti, this piece is considered to be the second half of his Mount Rotui he built in Philadelphia last fall. Legend has it that the peak of the mountain was stolen by theiving gods, resulting in Mt. Rotui's u-shaped peak, seen here:

Trevor's Mount Rotui, created for The Steve Keene Trevor Reese Project at Copy Gallery in Philadelphia last September, focused on the missing peak of the mountain. Trevor plays on the viewers sense of curiousity and good faith by hiding secret images inside the mountains via small peepholes, while never outright revealing or leading viewers to look into them. Here are some images from Copy:

above: Mount Rotui, 2008, looking into peepholes of Mount Rotui

below: inside peephole of Mount Rotui

For his installation at ATHICA, Reese chose to focus on 'part two' of the Mount Rotui series, the celebration of the peak. This work is playfully colorful and hopeful. From the press release:

Importantly, in the legend of Mt. Rotui, there is the notion of an unseeable part of the mountain existing illogically inside of the mountain, and it becomes the artist’s role to unveil the hidden form. Punctuating the façade of Reese’s hollow, constructed peaks are holes through which viewers can peer and view objects and images, including a living plant and an image of Mt. Rotui itself. Reese translates a monumental feature of the landscape into an interactive gallery encounter, playing the secret spaces of the mountain’s interior off of its carnivalesque façade.

Here are some installation views from we will go together (peak of Mt. Rotui) (2008) at ATHICA:

views from the inside of the peak

2. MFA show for University of Georgia students at the Georgia Museum of Art: Since I received my BFA from UGA, I like to keep up with the MFA students as they cycle through. This year's graduating MFA students included 2 friends and great fabric artists: Motoko Inoue and Euni Figi. Luckily I was in town for Trevor's show and we caught the MFA show in person this year.

Motoko created a whimsical yet slightly macabre installation:

From her statement:

I utilize fabric to create soft sculpture.
In dealing with my work,fabric is synonymous
with both skin and emotions, metaphorically
akin to a Moebius strip.
My work explores the relationships between
reality and fantasy, within their ambiguous
and uncertain borderlines. Although I discover
duality everywhere, I believe what is significant
is the searching that lies amid two opposite ideas
or different worlds.
I am seeking myself through life and reality in
between the world(s) of internal eternities and
external limitations

Euni exhibited 3 "Rice Apron" Garments:

"Rice Apron" is both a functional and non-functional garment that utilizes dress as a metaphor for expression.  The piece is filled with over one hundred and ten pounds of white rice, which spills out of the bottom of the apron.  Visually, the work references a bridal train that is backwards, making forward motion for the wearer nearly impossible.  Moreover, the weight of the apron makes the garment twice as restrictive.  Yet, the apron also serves as a protective armor.  The work is symbolic manifestation of worry.

More information: Georgia Museum of Art or UGA MFA

April 6, 2008

Bird's the Word!

My friend (and workmate:) Colby Bird, who is represented by CRG Gallery here in New York, recently had a great showing at the Armory Fair. Colby juxtaposes his photographs with his sculptures, and almost sees them as necessary diptychs. Using disparate yet seductive materials such as flourescent lights, crib mattresses, banker's boxes, cheap gold wrapping and, of course, alcohol, you can't help but fall under the sleazy 'sexiness' spell Bird seeks to lay on you.

From CRG: The subjects of Colby Bird's work--among them pornography, hip-hop culture, the suburban middle class--are all structures marked by projections of longing and desire. What makes the work an original formulation of identity in these potential fields of anonymity, is Bird's privileging of and respect for reality in the form of the object--fetish object, art object, art object as fetish object, fetish object as art object. In these objects is his translation of and compassion for one of the most difficult and complex aspects of human reality: the constant discrepancy between our perception of and hope for reality, and our experience of it.

I kept noticing all of the young hipsters carrying around Bird's pamphlet published just for the Armory at the fair. Included in the pamphlet is an essay by Joao Ribas (the curator at the Drawing Center) which you can read here. Colby - congrats!

(L-R) Traphouse, 2007, Andre Cold Duck, 2007

March 28, 2008

Here's a quick post to share two shows I really found enjoyable in Chelsea recently: Mark Dion and Keith Edmier.

Mark Dion shows at Tonya Bonakdar Gallery on 21st Street. From the press release of The Octagon Room:

In The Octagon Room, which takes the form of an architecturally scaled installation, Dion furthers his investigation into the blurred boundaries between art, society, and history, as well as the homogenized methods of their presentation and consumption. Confronting the inherent contradictions between the artifact and the context in which it is displayed, The Octagon Room takes the appearance of a brutalist styled bunker. However, within the installation the viewer is invited to browse though an abandoned office, the contents of which represent the artist’s own labyrinthine history of the past eight years.

Dion’s decision to utilize this octagon structure was inspired by the 19th century mania for octagon buildings, popularized by the American phrenologist Orson Squire Fowler. Fowler championed the merits of octagonal homes over rectangular and square structures in his widely publicized book, The Octagon House: A Home for All. In the end, octagon houses never took hold and, rather, these eight-sided homes seemed to be the choice of the individualists, standing defiant among their four-sided neighbors.

The imagined provenance of each of the objects in Dion’s arrangement adds up to a staggering sum of experiences. As each speaks of an individual past, collectively they present a complex mosaic, informing our understanding of the overall subject matter and material. A wunderkammer both autobiographical and sociological, The Octagon Room takes the nation’s relationship with its own people and its neighbors, and the artist’s status and position within this framework as its foundation.

(L-R) outside view of the Octagon room, inside view, and detailed shot.

This show came down on March 15th.

On another note, Keith Edmier's solo show at Petzel is still up until April 12, 2008. This show features a full scale replica of Edmier's childhood kitchen, and is a perfect example of great fabrication. Again, from the release:

The kitchen, with its Harvest Gold palette, walnut laminated cabinets, "Kitchen Psychadelia" wallpaper, and stone patterned tile are fabricated in detail rather than refurbished. The work was first installed as Bremen Towne, connected with the home's other communal spaces--those shared with the family-at Keith Edmier 1991 - 2007, Edmier's comprehensive survey exhibition at CCS Bard.

"Bremen Towne is a full-scale sculptural reproduction of the interior spaces from the ranch house where I grew up in the southwest Chicago suburb, Tinley Park. It is made to resemble what it would have looked like when I first moved there with my parents in 1971. Essentially, it is a brand new home," explains Edmier. The installation "functions as a curated space. An exhibition of those things, which influenced my early aesthetic development, in the surroundings that helped shape who I am."

Bremen Towne is the largest physical manifestation of the artist's fascination with reclaiming, or at least rethinking, the past through sculpture and installation. This extraordinary installation represents the culmination of Edmier's psychological archeology.

I like to think that my work has a lot in common with Edmier's, and I'm excited to have a studio visit with him in the next week. Here are some kitchen images, go see it for yourself!

March 22, 2008

Bert Rodriguez and the Whitney at Park Avenue Armory

Yesterday I participated in Bert Rodriguez's performative/interactive piece for the Whitney at the Park Avenue Armory. I will admit I was a little nervous, not knowing what to expect. Rodriguez had set up a white 'minimalist' cube inside the Colonel's room of the Armory. Inside the cube, Rodriguez was giving 45 minute therapy sessions (appointment only, I made mine weeks ago) with himself as therapist. From the Whitney release:

Rodriguez strives to alleviate the concerns of Armory passersby for the 2008 Whitney Biennial, conducting free therapeutic sessions inside a large white cube installed in the middle of an ornate room and assigning “patients” artwork projects as remedies for their problems. A muffled version of these discussions audible outside his “office” suggests a ghostlike presence that reflects and intensifies the Armory’s haunting ambience. Operating largely outside traditional commercial art practices, and with shrewd yet playful wit, Rodriguez’s multifarious practice educates, amuses, perplexes, and enriches his audience while quietly commenting on the contemporary art world.

Maybe I was expecting a little more structure to our 'session,' but I am glad our conversation was ackward and a little forced. Meeting people in New York is like this to me in many ways, we feel the need to create a structure upon which to socialize, and this rationally validates the exchange. While we did have some moments of silence.....most of the conversation was engaging and quite charming. Its interesting to create this moment of intimacy between two people in the greater context of a large art biennial exhibition. Inside his cubed office were two large leather chairs, facing each other from opposing corners. In the middle was a coffee table with 2 bottles of water on it, one for me and one for him. The ceiling was a drop ceiling with faux lights (or were they on?) Also in the room were some consciously placed house plants in one corner, and on a small table a lamp, a box of kleenex, and a tabletop cactus.

Bert mentioned to me that this experience has made him actually more skeptical of the structure of therapy itself, how one feels so dependent on someone else to 'cure' or 'heal' yourself, all the while paying a high price for it. He admitted that talking over your problems with someone else is healthy/natural/therapeutic, patients can become too dependent, and actually forego advancing their own life simply for the sake of attending an appointment on time.

My appointment ended with the promise of an art project in a future email. I told him I would do it as long as it would be collaborative, so as to continue this exchange created in his 'office.'

The rest of the show at the Park Avenue Armory was fresh and engaging. Partly due to the deteroriating aesthetic of the Armory itself, encoded with so much history, the work seemed much less pretentious and safe than the work at the Whitney. Here are some photos I took:

March 11, 2008

Crypt of Civilization

I am really into time capsules. I was researching (ok - google searching) information about them some time ago and came across the International Time Capsule Society, or ITCS, at Oglethorpe University in Atlanta, GA. Being that I am from the Atlanta area, I was super excited to find this organization.

The ITCS was founded officially in 1990 to "promote the careful study of time capsules."

The Crypt of Civilization was first proposed by Oglethorpe's president, Thornwell Jacobs, the "father of the modern time capsule," in an article in the November 1936 issue of Scientific American. The Crypt was sealed on May 28,1940, and it is not to be opened until May 28, 8113 A.D. Dr. Jacobs calculated this date from the first fixed date in history, 4241 B.C. when most historians believe the Egyptian calendar was established. Exactly 6177 years had passed between 4241 B.C. and 1936 A.D. Jacobs projected the same period of time forward from 1936, arriving at the year 8113 A.D. for the Crypt's opening.

The encyclopedic inventory of items in the Crypt includes, in a swimming pool size chamber, over 640,000 pages of micro-filmed material, hundreds of newsreels and recordings, a set of Lincoln logs, a Donald Duck doll and thousands of other items, many from ordinary daily life. There also is a device designed to teach the English language to the Crypt's finders.

You can visit the crypt (aka a sealed metal door with a plaque) anytime you wish. Here are some photos:

(L-R) Thornwell Jacobs combs over his goods for sealing, Dr. Hudson stands outside the Crypt door, image of inside the Crypt, detail of some items in the Crypt.

Jacob's idea in 1936 created tremendous interest. Soon afterward the Westinghouse Company, which was building a pavilion for the 1938-39 New York World's Fair, buried a project, which was not to be opened until 6938 A.D. It was called a "Time Capsule" and our language gained a new term almost overnight.

The ITCS is currently developing their ongoing project to have everyone around the world register their time capsules. Interestingly enough, there is a 'most wanted list' of time capsules. Drumroll please...

In 1991, a list of the "10 Most Wanted Time Capsules" was released. To date, only one, the Kingsley Dam Time Capsule, has been found. The remaining are:

Bicentennial Wagon Train Time Capsule
This capsule was supposed to hold the signatures of 22 million Americans. But on July 4, 1976, when President Gerald Ford arrived for the sealing ceremony in Valley Forge, Pennsylvania, someone stole the capsule from an unattended van in the bicentennial wagon train. The capsule's maker, the Reynolds Company, had broken the mold. The thief’s identity and the whereabouts of the capsule are unsolved mysteries.

MIT Cyclotron Time Capsule
In 1939 a group of MIT engineers placed a brass capsule beneath an 18-ton -magnet used in a brand new, state-of-the-art cyclotron. The capsule was to be opened in 50 years but was not. No one remembered the time capsule was there (the cyclotron had long since been deactivated). But when reminded of its existence, MIT was faced with another problem: how do you get a time capsule out from under a 36,000-pound lid?

Corona, California, Time Capsules
The City of Corona seems to have misplaced a series of 17 time capsules dating back to the 1930s. Efforts to recover the capsules in 1986 were in vain. "We just tore up a lot of concrete around the civic center, "said the chairman of the town's centennial committee. A Los Angeles Times reporter has called Corona "the individual record holder in the fumbled time capsule category."

The M*A*S*H Time Capsule
Buried by cast members of the hit TV show in a secret ceremony, the capsule contained props and costumes of the show. It was buried in January 1983 -- somewhere, no one will say -- in the 20th Century Fox parking lot in Hollywood. The lot has shrunk in size, so the time capsule may be under a Marriott Hotel now. Update: According to CNN, Alan Alda recounts in his book, Never Have Your Dog Stuffed, that the M*A*S*H time capsule was found by a construction worker shortly after the show ended. When the worker tried to return the capsule to Alda and the rest of the M*A*S*H cast, Alda told him to keep it.

George Washington's Cornerstone
Today's custom of burying time capsules is in part an outgrowth of Masonic cornerstone-laying ceremonies. Through the centuries, Masons have officiated at rituals which often include placing memorabilia inside building cornerstones for later recovery. In 1793, George Washington, a Mason, performed the Masonic ritual upon the laying of the original cornerstone of the U.S. Capitol. Over the years, the Capitol has undergone extensive expansion, remodeling and reconstruction, but the original George Washington cornerstone has never been found. It is unknown whether there is anything inside of it.

The Gramophone Company Time Capsule
In 1907, Hayes, Middlesex, England, sound recordings on disc were deposited behind the foundation stone of the new Gramophone Company factory (later HMV, later EMI) by the opera singer (later Dame) Nellie Melba. During reconstruction work in the 1960s, the container was officially removed, but before it could be reburied, someone ran off with it. The whereabouts of these priceless master-pressings of Melba and other stars remains a mystery.

Washington Territorial Centennial Time Capsule
In 1953 Washington state celebrated its territorial centennial by burying a two-ton time capsule on the state capitol campus in Olympia. The legislature failed to approve funds to mark the site, and the capsule was lost until 1959. However, records indicate that a supplementary time capsule was prepared in 1953 for burial alongside the main capsule. The location and contents of the second capsule are unknown. The capsule may have been interred as planned; its reported location was a closet at the capitol. Update: it appears that this capsule was found in 2002.

Blackpool Tower
In Blackpool, Lancashire, England, a foundation deposit was interred in the late 19th century with the customary ceremony. When a search was organized recently in preparation for new building work, not even remote sensing equipment or a clairvoyant could locate the time capsule.

The Lyndon, Vermont, Time Capsule
First mentioned in an 1891 Vermont newspaper, the capsule is an iron box containing proceedings of the town's centennial celebration. It was scheduled to be opened on July 4, 1991. Citizens have looked in the town vault, the bank and the library but have not found the box. The time capsule may not have been buried at all, since some ceremonies were canceled due to rain. Lyndon residents have vowed not to lose their new time capsule which is set to be sealed July 4.

P.S. Who else thinks the Crypt's contents will just vaporize when someone (if anyone) finally opens the Crypt in 8113?

International Time Capsule Society

rachel@racheljobe.com

March 4, 2008

Stuttering at Carroll Musuem: Baltimore

Last Friday night was the opening for the group show Stuttering at the old Carroll Mansion, now Carroll Museum, in Baltimore. Famously known as the last living signer of the Declaration of Independence, Charles Carroll of Carrollton lived in this home until his death at age 95 in 1832!

The mansion was absolutely stunning! The group show sought artists looking to intermix the building's history with their own. There were three live performances on opening night, and the show was packed. Here are some photos:

My plexi clock was hard to see from certain angles. The chandelier was made of pasta by Baltimore artist Alia Diaz.

(L) Beautiful chandelier in the mansion. (R) Pre-performance by a MICA group of students.

(L) Outside of Carroll Museum - artists Todd Rennie and Mary Dixie Anderson turned a scaffolding into a wonderful tent for $2 vegan and meat pies! (R) Photo of mid performance by Mark P. Hensel aka Miizzzard

The show is up until April 27th. So if you find yourself in the Baltimore area - GO SEE THIS SHOW:)

Info: www.carrollmuseums.org or www.currentspace.com

February 27, 2008

Analyze Me Please

Today I choose to write about a venue I have become slightly obsessed with over the past months - The Freud Museum in London. This is partly due to the fact that two of my favorite femme artists, Susan Hiller and Sophie Calle, have had amazing shows there. The rest of my fascination comes from Sigmund Freud himself. The Freuds moved into the home in 1938 while escaping the Nazi's annexation of Austria. It remained the family home until Anna, the youngest daughter, died in 1982, and the home was since turned into the museum as it is today. The centerpiece of the museum is Freud's study and library, preserved today just as it was during his lifetime. The house is also filled with memories of his daughter, Anna, who lived there for 44 years and continued to develop her pioneering psychoanalytic work, especially with children. It was her wish that the house become a museum to honor her father.

Undoubtedly the most famous piece of furniture in all the collection is Freud's psychoanalytic couch, on which all of Freud's patients reclined. The couch looks remarkably comfortable and is covered with a richly coloured Iranian rug with chenille cushions piled on top.

Freud's couch, upon which his patients would comfortably recline during psychoanalytic sessions, was normally covered by an oriental rug throw. Underneath the throw, it is a plain and simple structure, raised by a scroll and pad at one end, though fully upholstered with springs and horse hair stuffing.

The couch is rather short, so that the patient would not lie horizontally, but with the head quite high, supported by several cushions and pillows.

According to Freud's wife Martha, in an interview with Princess Marie Bonaparte in 1938, the couch was given to Freud by a grateful patient, a Madame Benvenisti, in about 1890.

Here is the couch without the rug throw:

and with the rug throw:

(seriously bourgeois!)

and here is the couch with Sophie Calle's wedding dress draped over it:

Here is a pretty good article giving a description of Calle's show at the Freud Museum in 1999.

More info on the Freud Museum.

February 23, 2008

Just a quick thought...I have found it harder to stay awake on the subway these days, and I was seriously pondering why yesterday, as I tried to keep my eyes open. I think one reason is that I live off the A/C line now, and these trains seem darker than the other lines. Probably every 1/3 person is asleep. I remember when I first moved to New York and rode the train I would wonder how anyone can sleep on the subway, and I always felt very alert. I used to be more productive - like read books! Maybe after riding the trains for so long it happens to you too - the trains lull you into a sleepy rhythm. Either way, I am always amused by the deep sleepers, and it seems like this Flickr group is as well!

completely unrelated...

I am really upset every time I see an image from this show - still really bitter I missed it, by one day! Did anyone see it in person? I bet it was amazing. (Mike Nelson, A Psychic Vaccum, for Creative Time). It ran last September 8 - October 28, 2007 at the Old Essex Street Market.

rachel@racheljobe.com

February 22, 2008

Ingest @ Athica

I am currenlty in a show at the Athens Institute for Contemporary Art (ATHICA) in Athens, GA titled Ingest:

Ingest explores the role of food in our personal lives as well as the impact of food choices and production methods on our environment. Many of the [artworks] employ humor and wit to address the serious issues along the road food travels to get from field to mouth.

I was asked to give a statement about my work so I have pasted it here for you all:

I have been collecting and saving every receipt I received since
January 1, 2005, in hopes to better see my spending patterns and keep
a detailed record of my life. Receipts to me are a document of
exchange. Money is a topic usually hushed in my family, which has
always boggled me. So in this way I wanted to make public what is
merely a socially acceptable exchange, or trade. After a year I
noticed most of my money was going towards food (similarly for a
majority of the population). It started to fascinate me becuase I was
literally eating away most of my money (albeit, to keep me alive:)
Eating, with others, in itself is an exchange between people, an
opportunity for conversation and socializing. The drawings (yearly
expenditure totals by month) started as a way to make public what was
my private expenditure. I noticed immediately that others could
easily relate to them (via the store names, etc) being that
consumerism is such a universal issue. Also these expenditures
brought up memories of old experiences that had been forgotten over
the past year - A mere receipt from a store/restaurant/gas station,
etc could recall a personal memory forgotten, which I thought was
fascinating! A lot of my work involves treasured memories juxtaposed
with daily experiences to create an 'essence' of a person, or
identity. So I was glad to find that in this project as well, which
seemed so exacting, my identity was still unique from others' spending
patterns - this was just another way to classify myself as an
individual. As for the chocolates - I wanted something edible that
viewers could eat away my 'money' as I did, and in this way become
part of the exchange, literally and symbolically. Felix
Gonzalez-Torres does influence me, but I hope this work will set me a
part from his 'take away' works as well. To me the eating of the
chocolates is about giving and receiving and hopefully has a more
direct connection to the money spent. Also this work is interesting
to me because it is ongoing and I have already started saving my 2008
receipts; this project has taken over my mindset. So in this way if
it were to ever be exhibited again, the object can always change and
the pile is never-ending.

I found this video from the opening last night on You Tube! See if you can spot my work (hint: gold chocolate coins!)

The show is open until March 22, 2008.

For more information on Athica: www.athica.org

rachel@racheljobe.com

February 19, 2008

Ape Genius

Watching Channel 13 tonite at dinner I came across this amazing show via NOVA called Ape Genius. It seeks to answer the age old questions about what separates us from our closest relatives - the apes. Something I found particularly amazing was the concept of 'teaching' they seemed to focus in on. The act of teaching may be one trademark characteristic that is uniquely human. The reason why ape culture never truely evolves, and human cultures does, it that we teach younger generations, building on itself with time. When an ape generation dies, some 'inventions' may live on, but most will taper off. However, humans will take our history and learn how to build on it, increasing in strength and complexity over time.

Another interesting idea was the differences in perception created in apes and humans over the simple act of pointing. When we point at something (with another person present), we create a triangle between the person pointing, the object being pointed at, and the second person engaging in the action.

In order to teach, two people must coordinate their attention on a single object or task, creating a "magic triangle." (Note here how it is the child who is eager to point out something to the adult.) (image courtesy PBS)

Apes didn't seem to understand the concept of pointing and showing. It is possible that perhaps apes lack the initial impetus to deliberately pass on a new skill, thus sharing and teaching each other. Also, humans seem to be motivated to encourage others while teaching (to cheer each other on), while apes have no innate drive to see other apes succeed. Every ape for himself....

On the PBS website there is a very interesting interview with Rebecca Saxe of MIT. Rebecca Saxe is an Assistant Professor in the Department of Brain and Cognitive Science at MIT. Her lab studies the neural and psychological basis of social cognition.

Any thoughts? rachel@racheljobe.com

February 17, 2008

I always find myself reading several books at once. One I am currently caught up in is The Archive: Documents in Contemporary Art, edited by Charles Merewether. Composed of several short essays, The Archive constructs a dialogue around artists, philosophers, writers, etc. interested in the notions of collecting and documenting. One particular essay I found particularly helpful for my own practice was Iyla Kabakov's The Man Who Never Threw Anything Away. It sets up a man who feels we can be defined individually by our garbage, and collectively via our dumps. Kabakov's work is so inspiring to me, combining participation with installation, often times involving elaborate stories and audio. His website: Ilya Kabakov

Here is a video of a work created in Egypt titled "The Ship of Siwa," in collaboration with the local area school children:

rachel@racheljobe.com

February 16, 2008

This weekend I went to visit Trevor at the Vermont Studio Center in Johnson, VT where he is doing a one month artist residency. I got to see a lot about how residencies run, the good and the bad. The Center is beautiful; all residents get a room in a house, a seperate studio, three meals a day, and the amazing scenery of the Vermont country-side. I think I might feel a little stir crazy after a while, but it seems like a great way to clear your mind and focus on your work for a month. Here are some pictures:

Above: (L) The Sculpture Studios are in the old Johnson Fire House. (R) Trevor's studio in the early phases.

Above: (L) Looking at the Red Mill (dining hall/gallery/lounge/administrative offices) of the Vermont Studio Center. (R) Trevor in his studio - banners!

If you are interested in learing more about the Vermont Studio Center: www.vermontstudiocenter.org

They host about 40 artists and writers per month.

comments? questions? rachel@racheljobe.com

February 8, 2008

I will be in a group show titled Stuttering: In a new light, at the Caroll Museum in conjunction with Current Gallery in Baltimore, MD, opening Feb 29th. Below is the information:

STUTTERING: IN A NEW LIGHT
FEBRUARY 29 - APRIL 27

OPENING RECEPTION FEBRUARY 29, 7-10PM
8PM LIVE PERFORMANCES WITH HANK SHEDD, MIIZZZARD, LAURE DROGOUL, PERGA, TODD RENNIE+MARY ANDERSON, ANDREW SHENKER'S PREPARATION FOR UNTUNED PIANO WITH LAFAYETTE GILCHRIST ON KEYS, AND MORE
/////////////////////////////////////////////////

Featuring:
Andrea Bocchio/Elizabeth McTernan
Jennifer Carinci/Adam Montegut
Monique Crabb/C. Ryan Patterson
Stephen Dewyer/Stephen Pauley
Alia Diaz/PERGA
Laure Drogoul/Hans Petrich
Liz Ensz/Todd Rennie + Mary Dixie Anderson
Elke Graalfs/Will Rockel + Kendra Atkin
Mark P. Hensel aka Miizzzard/Hank Shedd
Megan Hildebrandt/Andrew Shenker
Rachel Jobe/Christine Buckton Tillman
Nick Karvounis/Vishwam Velandy
Eric Leshinsky
*This exhibition is in collaboration with the Carroll Museums and will be hosted at the Carroll Mansion,
800 E. Lombard Street, Baltimore, MD 21202

January 30, 2008

New blog! I have started a blog in attempts to exchange. I am not sure all it will encompass as of yet: I can write about what new art I have seen and liked/disliked, or simply tell you whats going on with me. If you happen to ever read this blog and want to comment, just send me an email to: rachel@racheljobe.com

I will write my first official post this weekend. In the meantime I have a lot of cakes to be baking for Friday night! In case you don't know, I will be serving cake (Grandmama's Fudge Chocolate Cake) to anyone who would like to come to the Sixth Street Community Center (east village - 6th st between ave's B/C). Its going to be a good time, so see you there! 7-9 pm.