There. A new word.

Over the past month my senses have been infused with much change amid the many films and exhibitions I’ve manage to eek out between the shifting of the tides. I’ve been to the Portland Art Museum to see the new photography acquisitions, oogling at the Walker Evans and excited to see Robert Heineken represented, not to mention some interesting locals. I’ve marveled at Richard Deacon’s undulating and phenomenal Dead Leg form, it’s a masterpiece. Jenene Nagy’s spot-on titled s/plit has a rare amusing humor and sense of containment (and movement) that belies the traditional offerings in this same space. Edgar Degas is Degas is Degas in The Dancer exhibition, sharing quarters with the far more baudy Toulouse-Lautrec and the lesser exciting choice of Forain. It’s easy to see each artist’s gaze and intention. Just how Degas captured the form with such obtuse delicacy and gorgeous airy light boggles the mind - he is the master in this arena.

I’ve also been around town to see shows at most area galleries, enjoyed some of the more stripped down new works by James Boulton at Pulliam Deffenbaugh (not so sure about the drawings or the sculptural forms). He’s learned a lot since his departure from Portland (especially in his sure palette), and big city life has given him the chance to live in the frenetic environment he often paints through a categorically evocative filter. The Dudes Night Out show at Gallery Homeland is mixed, partly as the space mis/informs the perception of how to look at works that deal in the break-up of space. Though there are some gems, particularly Karl Burkheimer’s sculptural model which is twisted miniature architecture. I also enjoyed Todd Johnson’s bodiless ‘duel’. Though the most provocative and understated work this month comes from Laura Fritz in her ceiling-mounted video installation in the side hallway space at Quality Pictures. The piece titled Interspace, is another well-honed interpolation of Fritz’s foray into the invasion of the anticipatory gaze - otherwise mum (on view through 4/26). I also managed to make it over to 12×16 Gallery (in April watch for Lee Ann Slawson) Chambers (New Antiquarians coming in April) and a few others.

Aside from the movies I’ve mentioned here prior, I got to see 10,ooo BC and The Bucket List. For the latter I secretly smuggled in a vegan cookies + creme beauty from Saint Cupcake for my first-ever visit to the Mission Theater which went down perfectly with their tasty porter. I liked the seating, and the fact that the film cost only $3.00, and even with the beer at happy hour the total was less than a matinee at the Regal. Both movies revealed solid stories about grasping the guts of life and the quest for survival and pride in your people, nothing really new here. That’s the economy of entertainment.

In daily life news, I’ve had engaging conversations with some fellow artists and newbies to the area about the state of the arts, and other personal matters. I’ve yet to secure a new place to live and only have a few weeks to select something and move my worldly possessions. My search has taken me on tours through rental properties that are both shared situations and complexes. Some are quite compact (spelled tiny and not economical) and some with a depressing aire about. I’ve had lots of supportive messages from friends, but what I have seen and learned in the process has really opened my eyes. The condo real estate glut is compounding into awkwardness in the apartment market. Many apartments are actually much higher $-wise than just a year ago proportionately. It’s a new wave. Though alongside this we can also factor-in the residual discordance coming from being the ‘lil’ city-that-could critics darlin’ (not to mention ‘Califoregon’). In this upcoming recession, without being truly ‘creative’ about our welfare, I truly believe that creative folks (like me) may be completely priced outta town. Though you must factor in the few thousand empties at The Civic, South Waterfront, new buildings in mid-construction in the River District, around PSU and The Harrison which has just sold out one complete building to become luxury apartments instead of the intended condos.

Makes you think….

More about Christian Renou
Elsie & Jack / Waystyx / Ground Fault

 

 C. Renou - Raw Material [41:06m]: Play Now | Play in Popup | Download

Life is like film in so many ways. I’m working on a video by the way. But that’s beside the point. I am having a time looking for a new place to live. The Sitka is full-up as is The Morrison (maybe you saw the story in the Tribune?)- until at least Summer I hear. So, in between producing a recording and other fabrications, visits to affordable housing organizations, Craigslist, and walk-ins to known quantities I break for the darkness of the theater. It brings me a sense of calm. I like to go to often short-attended matinees. Today I saw Chicago 10 and it was fantastic and so prideful of its politics in the era of the late 60’s (probably a latent yippie here). How great it would be to see youth standing up for their beliefs today, and against the ‘war on terror’ - and breaking down the culture of fear that’s been built around us, not unlike the Berlin Wall. Yesterday I saw the interesting indie flick Delirious in which Michael Pitt (playing a homeless guy) and Steve Buscemi (a broken down paparazzi) are wonderful. It’s playing over at the Living Room Theaters, where you can see a movie in comfort for only 5 bucks on Monday and Tuesday! Well, onward my search goes. If you hear of anything pop me an email….

Wish I could move in here.
The B-52’s new release today!
It’s been a decade…they’re back from outer space.

Suddenly Single Seeking Shelter: No, this isn’t a personal ad. And the tongue-in-cheek title is only a half truth. However, I am looking for a place to live (prior to April 15). Something that would be described as one of the following:

A: I Need My Space: Large studio or one bedroom unit, preferably close-in SE, SW, NW, NE (in that order). I like Laird Hill, Clinton, Goose Hollow, Hollywood, Belmont, Hawthorne and similar neighborhoods. Though one can be flexible inside Portland proper. I would prefer having laundry inside the unit, but within the building is cool. Something with windows and not in a basement is welcomed too. Let me know what you might know….perhaps an affordable 2-bedroom? It needs to be near Max or main bus line. I wouldn’t want to break the bank, so looking at something under $700 if possible.

OR…

B: Space Out: A shared situation with a single person or couple. I prefer mature yet laid back and creative folks (non drug addicts/serial killers/skate punk dropout dudes), and must be a non-smoking household without cats. Those who are somewhat veggie conscious and not offended by someone who either may now or have ever been a “homo-sexual”! If it were in someone’s home it would be great to have two rooms, one for a bedroom, one for an office/studio. Perhaps an even trade for domestic work? I’m open to suggestions, creative solutions…but prefer a stable situation.

Life has become super convenient, wouldn’t you agree? I mean, nostalgia is just a click away (”Look boss, the plane, the plane…”). Not to mention last night’s tv program that you can now watch all over again on Hulu. I’ve been a beta tester for some months, though I would have completely failed on any Nielsen system. Not that I would be one to recommend ponying up to the old tube…which makes for an even more interesting commentary on the BYOTV exhibition at NAAU which opened last night. The government now is unplugging the beloved CRT. It’s all a wash of strangeness, but I belong to a wave of ‘kill your television’ minded folk anyhow. So, by making nostalgic 70’s ensemble shows easier to access…how does this contribute to my life? I don’t think there is an answer, kind of moot. Especially since my favorite broadcast, The FBI Files, is not among the many choices you can watch with repetitive commercials for Sprint, etc.

Television has this incidental invasive side that dulls the mind, zombifies the passive self. As such, many creatives have sought avenues like YouTube as an answer to their prayers. But once there you may find yourself locked into some sort of ADD mousing hell. A glitch between real time and virtual reality. I had a great conversation with some artist folk last night about this and its got me deep in the doo doo of thought. So, that’s a solid step on shaky ground. But it’s a step…trying to break down the need for objects and real experiences that aren’t measured in average time. Part of this came up in discussing the Whitney Biennial. Many have opinions about it from what they hear, some say they ‘understand’ it from watching short clips and reviews readily available on the ‘net. Others can’t afford a trip to NY for one reason or another, so experiencing outside of first person, vicariously through word-of-mouth or the written word is their only option. In this sense, most experiences these days would be some truncated CliffNotes® version of the real thing. Opinions?

ON MY MIND, TOTALLY: Portland is a space oddity-like city filled with hipsters (1) and hippies (2) and homeless (3). Why mention it? It’s temperate, and many get out in the streets. Because it provides the makeup of what the place looks and feels like to be in day to day. These are mere monikers for lifestyles that vastly dominate the streets. How else would we be kept weird? About a year ago I did a blog spot on this craze that seems to be re-born each Spring.

More info on AGF here.
Photo ©Tobias Schult

 

 AGF: W/O/R/D/S [36:45m]: Play Now | Play in Popup | Download

Isn’t that an interesting turn-of-phrase? What does it mean and who is truly offering solutions that fit the bill appropriately, and from a constructive and practical P.O.V.? Can you truly consolidate your work and home life as a studio artist post Y2K? A friend of mine just purchased a reasonably-sized (about 900 square feet) live/work artist condo space in the Boston area for under $125K (impressive for the region). It makes me tap my toes together three times with the old adage “there’s no place like home…”

The ebb and flow of change in my life comes in similar waves as the ones I inferred in the very last post. While certain things are moving ahead nicely on the May (Couture) show, my personal life is experiencing some unexpected shifts which alter my trajectory. That said, I’m trying to juggle looking for a new place to live with possibly having to find a creative employment situation, along with the balance of some long-term goals and aspirations.

Deep breath.

It’s not time to bail on anything in the moment, maybe just streamline, consolidate. Being somewhat a modern minimalist, I live like a buddhist, free of as many possessions as possible. These days I only own a few chairs, and that’s it in terms of furniture. I’m thinking of even giving them up. Free of debt, free of material goods (save my library of music and books and art), life seems ultimately portable. Though being a full-time artist doesn’t mean you always have anything of a semblance of a regular income. My life savings is truly modest, ahem. That doesn’t prevent me from producing, but does keep life ‘interesting’. But interest alone doesn’t pay for your basic overhead (nor your well-being - lest even mentioning healthcare)…and I like to think I am pretty basic when it comes to my domestic needs. That said, I am also a bit particular about what the configuration of those basics looks and feels like. I truly appreciate space for space sake…great design and quality/durable materials.

There are a few options I am currently exploring, in terms of salvaging a live/work situation that can meet me in the middle without making me either bankrupt or in a future bind with fewer resale/lease options. So, what’s out there in this fragile real estate market that suits someone like me (like you)? How can someone with low income afford to buy into the promise of a bright future on a rainy day? Or is this a drought?

WAVY HAIR: A peek at MK Guth’s Ties of Protection & Safe Keeping on its final viewing day at the New York’s Park Avenue Armory which closed this weekend as part of the 2008 Whitney Biennial.

THE NEW WAVE: A glimpse of the Whitney Biennial from Cool Hunting.

WAVE OF MAGNETISM: London-based friends, Semiconductor (Ruth Jarman and Joe Gerhardt) have just released their latest collaborative work with NASA’s Space Science Lab called Magnetic Movie, enjoy!

Ever have a particularly interesting coincidence that you had to share? Today I got four pieces of mail that had a strong visual link (above). The exciting thing is that each came from a different place. A poster for an upcoming Josiah McElheny show at the Henry in Seattle, the new issue of Art Papers from Atlanta, a show card from Boise and the latest CD from Fear Falls Burning which came from Belgium. Something about stark lines and gravity/air.

In the background I’ve been summonsed to jury duty in April, learned that a scheduled show for Fall in Sweden will have to again be postponed until possibly next year (though my collaborator, Leif Elggren, has further committed to continue on our path), and I’m in the process of looking for a new home. But in the process I did manage to catch a glimpse of what The Video Gentlemen are conjuring up for their BYOTV show opening this Wednesday with a reception on Saturday. The city will never be the same as NAAU kicks off Couture!

Life can often be described as fragile, dramatic, risky. Change seems to be constant. And we ‘roll’ the way we do to get through the loops and hoops. In the past few weeks I’ve seen several films, all with themes reflecting this. Movies give us back stories that we supply to imagination. Some like Bonneville touch on family, death and the testament to good friendship. Others like the period piece Miss Pettigrew Lives for A Day dissect the roles we play within society, and how we overcome our place in life. The very clever Vantage Point is a tiered short story for our times that focuses on politics and terrorism, told from five or six points of view. And last night I went for a double feature at the Hollywood Theater to see Vincent Price in the 1964 Italian-made black/white flick The Last Man on Earth back-to-back with the artillery toting Charleton Heston (how fitting) in the very 70’s The Omega Man. These were both adaptations of Richard Matheson’s 1954 vampire/sci-fi novel I  Am Legend, which was recently remade starring Will Smith (I haven’t seen that version to compare). It’s exciting to see how a story can be re-told to fit contemporary society.

All of these pictures are simply flashing light. I’ve been considering the implications of just that in my work of late.  How the flicker catches your eye, seduces you in some magical way, as if you are going into and through the light into the mind of the characters for a while. In this way movies are a blended form of entertainment and escape. Certain films, thematically, play on just that, like in the double feature, escape is futile. So, in the minds eye we are both part of the crowd, and connected to the universality of certain figments of cinematic interpretation while sitting back in a darkened theater. There we sit in rows, among strangers, looking forward. What exactly are we looking for? Answers…the key to life…ourselves portrayed by a sexy actor on celluloid…Mr. Goodbar?

I’ve seen countless films over the years, and I find a certain getaway, a temporary breath from the ordinary when I step into the cinema. Mind you, I think $10 to see a first-run feature film is completely not adherent to current economics, maybe that’s why I have always appreciated the art house - the independent repertories and second run theaters. Portland is a great city for film (and festivals of such), celebrating the worth of institutions like the Hollywood Theater as mentioned above, also the Clinton, Laurelhurst, McMenamin’s, Cinema 21, St. Johns, Cinemagic, and concepts like the newer Living Room Theater.  While many of these places offer gourmet pizza and brew, they can be a bit physically edgy and not as colorful and slick and advertise-ridden as the commercial franchises. However, I appreciate the slightly seedier side, there’s a sense of character, age, history.

The theater always offers at least a casual sense of mystery, even when you sit down to a blatant farse. There’s just no telling what’s behind the flat silver screen. It’s not unlike Lewis Carroll’s looking glass, is it?  The mind wanders and wonders what may lie just behind the curtain.

Friday March 15th @ Bossonova (722 East Burnside), 8PM-1AM
$10/Advance, $15 at the Door

More information about Frans de Waard/Korm Plastics

 

 Conversation with Frans de Waard [31:12m]: Play Now | Play in Popup | Download

Ideas flow swiftly some days. Others it can feel like wrenching for even a semblance of a thought. Contrarily, lately the mind has been overflowing. Having had the time of solace away in the mountains proved quite meaty to clear the slate for what has surfaced. So, in the past week I have been in regular communication with three equipt guys helping me on this new road. Having a team to throw ideas around with really enlivens the whole process, and can be a great opportunity to build a better beast in the long run. That creature is the exhibition infinitus which will be on view at the New American Art Union from May 7-June 22. This completes a major installation cycle for me as the finale of my ongoing Tribryd series which I conceived of in 2002, then presented as genometrics at Soundvision (2003), and as nucleo at Chambers Fine Art (2005). For this exhibition I am working with French composer Christian Renou who will further develop a composition entitled Land of Confusion (2002/2008). The original recording may still be available through Beta-lactam Ring Records.

Over the last weeks, with my team, I’ve been editing, measuring, planning, researching, and writing about the process. Now it’s time to turn a concept into an immersive experience. Go from paper to product. Well, product may not be the best overture as the work is made temporally and for the audience/end user. All said and done, the urban city continues to be my catalyst and offers prime source material. The work has a sense of space and impermanence. And though I’ve been a bit of a working studio artist this past annum, I’m offering something more experiential here. The next six to seven weeks will be practical building and acquisition, technical planning and execution. What I intend is to present a resonant composite of several environmental factors which have been influential as of late.

Yeah, interestingly enough, Nancy Dow of The Oregonian caught up with me out on the streets of all places. In many ways I am flattered to have been noticed doing one of my favorite daily things. This happened by word of mouth through a friend of a friend at the Bicycle Transportation Authority of all places. I don’t own a bike, and am unadorned by bumper stickers reading either “My Other Car Is A Broom” or “Powered by Biodiesel” - well I guess the story tells more. Feet don’t fail me now.

It was great to be part of the mid-year senior thesis review panels today, as I have in several seasons past. As you may have heard the news, the school publicly announced the acquisition of its future campus on the North Park Blocks. This will take some years to build and shift, but it is certainly welcome news for the art community-at-large. As our panels and students raced from building to building, providing brief critiques of the work being generated from its new blood, the news was a buzz through the school. This is an achievement on so many levels, momentous, yes. I also managed to stop into the Feldman Gallery to check out the Untraceable exhibition and found myself mostly drawn to Hans Haacke’s treatment of a portion of an old-fashioned American flag. The show is a strong, but quick glimpse, into many events yet to come that will touch on the broadness of war and its aftermath. The repetition of the images referring to and re-enactments of the torturous Abu Ghraib ordeal are repeated at least three times within the context of the exhibition. It’s a flash image of our visceral times.

Back to the senior reviews…it is certainly something I look forward to. You catch a glimpse of what the new generation is thinking, how they are going to tackle complex concepts and media, and know they are the next wave for gallerists hungry for fresh new perspectives. It was an honor to serve with a changing panel of five other arts professionals throughout the day. It’s great to hear, from their perspective, an assessment, creative feedback, critical and contextual. Serving on these panels really gives one the opportunity to be the first outside the academic confines of the institution to help, in some way, move the process, and offer an outsider’s perspective. As usual there are always some students who are further along than others, and lots of surprises. Some of these surprises form between now and the final thesis which is in a few months. The ROI here is being part of the larger intergenerational patchwork of artists, students, teachers and others. So, here’s to PNCA - Raise Your Flag - higher, higher!

Volume Projects, with curators based in San Francisco and Los Angeles, has recently celebrated their first birthday with the release of a limited edition recording by Steve Roden called Vester Fields (sold out). They will continue to release editions, but they go quickly to those who are in the know…now that means you. Perhaps you may remember Roden’s One Stone. And Arcs and Ears. - that’s if you had the chance to view invisible.other, the exhibition yours truly curated last year at the New American Art Union (the gallery may still have a few copies of that recording on hand). Volume (and Overlap) are about to present a two-part program called Listen/Vision (you know this one is up MY alley!) which will take place at the San Francisco Art Institute on both March 21 and May 14. If you are in the Bay Area or plan to travel, mark your calendar now as these dates will certainly prove to be important sound-related events on the left coast.

I received an email which I would like to extend to any artists who need apply. “Household Revisited: Peaceniks and Treehuggers” is seeking your participation. A project by Robby Herbst, Outpost for Contemporary Art is presenting this performance in conjunction with “Allan Kaprow-Art as Life,” on view at The Geffen Contemporary at MOCA from March 23 through June 30, 2008.

“Household Revisited” needs you for what will be a daylong event occurring at a “lonesome dump out in the country”. As per Kaprow’s direction, there will be no spectators, only participants. Originally an action dialogue between the Men, the Women and the People, for this version you will be asked to help re-write elements of the score by personifying with dress and movement world peace or environmental transformation. The happening will include hands on workshops with choreographer Hana van der Kolk and sculptor Jessica Hutchins. The outcome will be some kind of kind of happening musical we create together.

Initial informational meeting for participants:

March 30th, 2:00-4:00 pm
at Outpost for Contemporary Art
6375 N. Figueroa Street (in Highland Park)
Los Angeles, CA 90042
(323) 982-9461

Find answers to your questions by downloading an FAQ sheet under ‘Robby Herbst.’

ON THE RADIO: Alfredo Jaar has always been one of those far-reaching artists. He deals primarily within the delicate cracks of the socio/political in his work. I met him years ago while he was showing at the Hirschhorn Museum & Sculpture Garden. He took my picture for a project he was doing at the time. It had to have been before 1989 (I had “hair”). Now he’s being interviewed by one of my favorite radio programmes on the planet. In the coming month I will also have my streaming debut on ResonanceFM (”The Art of Listening”) myself (tba). Enjoy.

London’s Troika has introduced ‘virtual gravity‘.
Even the MOMA has caught on.

Trailer for Todd E. Freeman’s Come Hell or Highwater

Today I happened upon a blog entry by artist Calvin Ross Carl which has a wonderful photo slideshow of the day back in December. It captures our studios and the whole buzzing energy of the event. In his blog he also mentioned Pink Elephant as well. I was on residency and am just catching up. If you haven’t seen it enjoy.

More information about Heribert Friedl/Non Visual Objects

 

 Heribert Friedl [31:22m]: Play Now | Play in Popup | Download

Watercolors by David Stein @ Launchpad. Opens this Friday. 

Q: War - What is it good for? Hits you like a ton of bricks these days.

As I was rounding corners today, in different parts of town, the sun hit my face, the day was light and crisp. For a moment I thought about nothing but the thin air. How it wraps me gently everywhere I go, all the time. It was a break from online marathons of Kitchen Nightmares and other daily mishegas. Feels like plenty of that as of late, but in between measuring walls, quick lunch chats about fabrication for my upcoming show and an amazing dinner at Nutshell (thanks Kirk!) - I’m finding the need for quiet - alone/isolation time settling in. Although, tomorrow I am being interviewed by a media source for an interesting piece on my daily walks around town. I’m a bit of a surveyor of the urban edge. I’ve also just been asked to curate a special radio show out of London which I will feature here soon, and have a forthcoming podcast with an Austrian artist up next on iTunes. And what’s with the explosion of shows this month? The invites and press are rolled out, so much sounds incredible. I go back and forth as I must bide my energy to be time-released over the coming weeks in the studio and only stray when I can. Many things I want to see, but in the balance I realize my timelines are strict, and I need to focus on Couture, and socialize sparsely. It’s my coping mechanism - the life of an art junkie is not all glamourous. “It’s like walking and talking, at the same…time.” (Laurie Anderson, from Big Science)

It’s Monday, 03/03 (the magic numbers), and as of this month I’ve decided to break a longterm cycle so to speak. I have disbanded arts reviews herein. After much contemplation I have realized that with my primary studio practice, the social and associated aspects draw too much from my focus.

That doesn’t mean I won’t continue getting out there from time to time, but for now I need to be one-on-one with my own four walls a while. In fact, it was great to get to see two thought-provoking shows at the Cooley (Working History) and 12×16 (Carl Annala and Israel Hughes) on their final day yesterday. I’m glad that Reed has resorted back to their regular hours as Sunday is such a great day to look leisurely at what’s on view (NAAU, Newspace, 12×16, the museums…). That said and done, with a few opportunities for ‘actual’ (paid) writing gigs ahead (I’m writing content for a photo historical book as well as being considered a newly minted associated correspondent for a national arts magazine) I’ll simply save my muster for outside ye olde blog. The x-word-count work will be in my ’spare time’ (I’m a bit quote/hatch happy today). I’m planning to use this domain to focus more on my daily studio practice and odds-n-ends. After all, this is virtual (as opposed to ‘actual’) any way you slice/dice it, eh?

In the news….after disbanding their instant cameras a few years back, Polaroid has decided to stop manufacturing their eponymous ‘magic’ film as the BBC reports. And as they try and reinvent themselves as a company with a unique brand product, using the inkless ZINK™ technology, we’ll have to wait for their company profile as the stock of existing films dwindles through until approximately 2009. So, if you are an enthusiast of their historical product, get it before it’s no more.

In Keep Portland Weird news though I knew the slogan actually was derived from a similar campaign out of Austin, TX, I just realized this week that the bumper sticker (et al) comes out of Music Millenium, the vendor of all things that go boom. Closer to home there will be an exhibition under this moniker opening this week on 1st Thursday at City Hall to include Gwenn Seemel and Richard Schemmerer among others. What celebration of this calibre would be complete without the omnipresence of Voodoo Doughnuts (”the magic is in the hole”) as well as local microbrews? Sam’s the man this Thursday.

Electric Possible Assembling Magazine #2

This April, the Electric Possible series marks its 5th anniversary. To commemorate and celebrate the occassion, I’m calling on the community ofmusicians, artists, poets, & audience to participate in a special “assembling magazine” project (just like last year). For an assembling magazine, participants turn in multiple copies of an artwork, which is collated and bound with other submissions to form a single publication.

For the Electric Possible Assembling Magazine, please create 40 copies of an 8.5×11” artwork. Then mail your work to the address below. Once I get at least 20 contributions, I will collate and bind the issue. Each contributor will receive a copy of the finished product mailed to them. Please forward this invitation to anyone you think may be interested in participating. Ideally, the finished project will reflect the current experimental music community surrounding the series. You may design and manufacture your page however you want. Photocopying is a common technique. However, assembling magazines are most interesting when the pages involve handmade, individual touches. You could add rubber stampings, stickers, drawings, collage, etc. You may design your page to document your band/music project, share a poem, or display artwork. You could attach a CDR or photograph. Your page doesn’t have to be made out of paper, either! Think about it, be creative, but please participate! Using both sides of the page is recommended. Anything goes, but please stick to the size and format.

To participate in Electric Possible’s 4th Anniversary Assembling Magazine

Create 40 copies (8.5 x 11 size) and mail to:

Electric Possible c/o Jeff Bagato
PO Box 2482
Merrifield, VA 22116

An assembling magazine is a collaborative happening in print that revolutionizes the creation of a print publication. The idea rose from the Fluxus and mail art networks starting in the 1970s. Richard Kostelanetz initiated one of the first, called Assembling (which is where the generic name comes from), but there were many others. These projects circumvent the usual editorial restrictions enforced by most other publications, placing control back in the artists’ hands, where it belongs. I contributed to several assembling magazines in the 1990s and I continue to treasure them today. More information on assembling magazines may be found by following the links: The Zine/E-Zine; Reading the Archives (Kairos)

SONIC WINNER: With only a single entry the winner of the DVD Corporate Ghost, the videos of Sonic Youth is obviously the unchallenged “Art Naked”. To claim your prize simply email me within a week’s time. Thanks!