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Intersection for the Arts/ Intersection 5M
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Exhibition
Detail
Broadside Attractions | Vanquished Terrains
925 Mission Street
San Francisco, CA 94109
April 11th, 2012 - May 26th, 2012
Opening:
April 11th, 2012 7:00 PM - 9:00 PM
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Collection of wooden type from the late 19th Century (stock photo)
© Courtesy of the Artist and Intersection for the Arts/ Intersection 5M
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> QUICK FACTS
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EMAIL:
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kevin@theintersection.org
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TAGS:
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sculpture, painting, installation, video, sound, stop-motion animation video-art, photography
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> DESCRIPTION
Intersection for the Arts presents:
Broadside Attractions | Vanquished Terrains
A group exhibition featuring collaborations between 12 pairs of artists and writers
San Francisco, CA – March 21, 2012 - Intersection for the Arts presents Broadside Attractions | Vanquished Terrains, a group exhibition that features twelve pairs of visual artists and writers creating new collaborative work that takes inspiration from the historical broadside and reflects on current events and contemporary culture using the theme of “vanquished terrains” as a point of departure. Before newspapers, magazines, pamphlets, and the internet, there was the broadside. Historically the broadside has been defined as a large sheet of paper printed on one side and designed to be plastered onto walls in heavily trafficked public areas to announce events, proclamations, or news through visually bold and concise messaging. Although broadsides were first introduced in England, they became a prime means of communication and the most common form of printed material in the early days of the U.S. before newspapers. In addition to announcements, advertisements, and commentaries, broadsides also came to feature cartoons, poems, and song lyrics. A famous example is the Dunlap broadside, the first publication of the U.S. Declaration of Independence printed on the night of July 4, 1776 by John Dunlap of Philadelphia in an estimated 200 copies. Over time, artists and writers began to embrace the format and structure of the broadside, working with printers and publishers to create limited edition multiples of their work, oftentimes a short written piece accompanied by an illustration depicting the essence of the writing. During the 20th Century in the U.S., Harlem Renaissance, Concrete, and Beat writers all claimed the broadside as a below-the-radar way to get their work out onto the streets. However, as printed matter becomes more obsolete in our digital world, the broadside too has become outdated (today poetry broadsides can be purchased as limited edition artworks through venues such as City Lights Booksellers). Organized in collaboration with curators Megan Wilson and Maw Shein Win, this project is part of Intersection’s larger exploration of language, place, and storytelling that pays homage to the history of printed matter, highlights cross-disciplinary work between artists and writers, and demonstrates a 21st Century reinterpretation of one of the original forms of public communication.
Participating artists and writers were paired up to collaborate on this project. Each artist provided their collaborating writer three sources of information inspired by the theme of vanquished terrains: a piece of music, a movie, and a location. The writer then created a short piece in response to these prompts, which was then given back to the artist to create work in response to the writing. This became the content for the traditionally printed broadside. Additionally, each artist and writer pair were then asked to create another piece that could embody the same set of ideas and concepts with any form or media that they wanted to utilize, including sculpture, painting, video, sound, and stop-motion animation. Each artist and writer pair will have two pieces on display in the exhibition, a traditionally printed broadside and a contemporary reinterpretation of the broadside in a variety of media.
ABOUT THE ARTISTS
Multidisciplinary artist Eliza Barrios ( www.elizabarrios.com) & writer Myron Michael (www.myronmichael.org) use the ambient, post-rock music of Tape, the 2005 feature film Battle in Heaven by Mexican filmmaker Carlos Raygadas, and the location of the horizon on the Pacific Ocean at high noon where the contrast of light is greatest as creative prompts for their video installation investigating the peripheries of intended gestures and the momentary grasp of their meaning.
Artist Paul Bridenbaugh ( www.paulbridenbaugh.com) & writer Steve Gilmartin use the expansive jazz of Sun Ra, the seldom seen 1968 documentary Appunti per un film sull'India by Italian filmmaker Pier Paolo Pasolini, and Panther Meadow in Mt. Shasta, CA as creative prompts for their sculptural installation that investigates a reality in which signs persist after their referents have seemingly vanished. In such a landscape, absence becomes the invisible subject, and negative space is allowed to present itself in high relief.
Sculptor and installation artist Karrie Hovey ( www.karriehovey.com) & writer Elise Ficarra with sound artist Evelyn Ficarra ( http://cnmat.berkeley.edu/people/evelyn_ficarra) use the independent pop stylings of Marina and the Diamonds, the 1963 feature film The Birds by legendary filmmaker Alfred Hitchcock, and the starry sky during a new moon as creative prompts for their sculptural installation with sound that looks at the current plight of Marin white deer in the Point Reyes area of northern California to address the impact of human intervention in nature.
Sculptor and installation artist Misako Inaoka ( www.misakoinaoka.com) & multidisciplinary artist and writer Jaime Cortez ( www.cortezjaime.blogspot.com) use the minimalist, contemporary classical work of Philip Glass, the 1952 feature film To Live (Ikiru) by Japanese filmmaker Akira Kurosawa, and the ocean as creative prompts to create a stop-motion animation that looks at the passage of time, spirituality, and death through their combined sense of detail, narrative, and wrong-headedness.
Multidisciplinary artist Keiko Ishihara & writer Chaim Bertman use the ambient soundtrack of Brian Eno’s Music for Airports, the 2005 documentary March of the Penguins by French filmmaker Luc Jacquet, and the South Pole as creative prompts for their video that equates the frenetic crowds of Tokyo’s public transportation system to the trials at the edge of the world.
Painter Patricia Kelly ( www.patriciakkelly.com) & writer Vince Montague (www.vincemontague.com) use the music of the famous Egyptian singer Oum Kalthoum, the 1964 feature film Red Desert (Il deserto rosso) by Italian filmmaker Michelangelo Antonioni, and the Pacific Stock Exchange located in San Francisco as creative prompts for their multimedia piece that evokes navigating unchartered territory embedded with life-affirming signs for fellow travellers in transit.
Photographer Dwayne Marsh ( www.dsamuelmarsh.com) & writer Nana Twumasi (www.returnandfetch.blogspot.com) use the traditional and popular music of Mexican singer-songwriter Lila Downs, the 1959 feature film Black Orpheus by French filmmaker Marcel Camus, and the city of Paris as creative prompts for their photographic multimedia piece that conjures up abandoned sites full of undisclosed histories and unexplainable emanations of energy.
Multidisciplinary artist Nathaniel Parsons ( www.nathanielparsons.com) & writer Ly Nguyen ( www.wordflash.blogspot.com) use the contemporary Americana pop of The Verms, a video of Parsons’ hometown Chagrin River in northeastern Ohio at flood stage, and Indian Rock in Berkeley, CA as creative prompts for their multimedia sculptural installation that embraces personal and shared experiences as avenues into more universal, collective ideas.
Painter Christine Ponelle ( www.neoimages.net/artistportfolio.aspx?pid=1560) & writer and producer Annice Jacoby use the ambient music of Tom Verlaine, the 1975 feature film Dersu Uzala by Japanese filmmaker Akira Kurosawa, and the location of your own mind as creative prompts for their multimedia piece that utilizes archetypal visual elements to address loss and longing, memory and place, and timelessness.
Multidisciplinary artist Matthew Rogers ( www.neoimages.net/artistportfolio.aspx?pid=3112) & writer Maw Shein Win use Andy Williams’ 1960s pop classic Music to Watch Girls By, the 2006 feature film Idiocracy by American filmmaker Mike Judge, and California’s Inland Empire as creative prompts for their painting and video piece that explores the tension between a perspective grounded in a longer-range view of the world and the fleeting, immediate frame of reference prevalent in contemporary society.
Multidisciplinary artist Megan Wilson ( www.meganwilson.com) & writer Hugh Behm-Steinberg use the minimalist classical sacred music of Arvo Pärt, the 1974 feature filmChinatown by international filmmaker Roman Polanski, and California’s Joshua Tree as creative prompts for their installation that looks at how the demonstration/protest sign has become one of the most used and effective forms of viral messaging as a contemporary broadside.
Multidisciplinary artist Liz Worthy ( www.lizworthy.com) & writer Jenny Bitner (www.jennyart.com) use the pioneering electronic music of Matmos, the 1979 feature film The Stalker by Russian filmmaker Andrei Tarkovsky, and the location of Jenny Bitner’s palm as creative prompts for their sculptural installation that translates the broadside into an interactive participatory experience set in the context of a generic domestic interior.
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