Tinashe is a singer-songwriter, producer and skilled dancer known for her electrifying, genre bending take on modern R&B and pop. The 22 year-old artist released her debut studio album, Aquarius, in 2014 on RCA Records hot off the heels of a slew of self-produced mixtapes and the #1, Platinum hit "2 On" featuring ScHoolboy Q. Aquarius, which Tinashe co-produced, continued to receive unanimous acclaim across the board well after release, appearing on many 2014 year-end best-of lists, including The Associated Press, Rolling Stone, The New York Times, Billboard, and many more. Upon releasing Aquarius after a slew of buzzed-about, self-made mixtapes, Tinashe quickly became one of the most talked-about and exciting emerging artists. In the wake of Aquarius, Tinashe covered magazines such as V Magazine and ACCLAIM,was honored as one of 2015¹s ELLE Women in Music, performed exclusively for Karl Lagerfeld, Chanel and Alexander Wang, was hand-picked by Janet Jackson to perform a tribute to her at the 2015 BET Awards and became the face of Ralph Lauren¹s Denim & Supply Fall/Winter 2015-2016 campaign. Now, with Joyride, Tinashe's vision and pop smarts come into even sharper focus, as evident on the album's lead single "Player" featuring Chris Brown and earth-shattering bass of fan favorite "Party Favors" featuring Young Thug. In a recent cover story, Dazed Magazine called Tinashe "her generation's most fearless R&B icon," noting that Tinashe creates a sound on Joyride that fuses 20th century pop ambition with an eclectic approach that¹s unimpeachably modern.
UPCOMING SCREENINGS: THEY WILL HAVE TO KILL US FIRST
The Hollywood Theatre’s Sonic Cinema Festival presents the best in new and classic music documentaries on the big screen… with big sound! A feast for the eyes and ears, the festival explores a wide range of musical artists, genres and styles.
Thursday, April 7 at 7:30pm | $9 | Buy advance tickets here.
THEY WILL HAVE TO KILL US FIRST: MALIAN MUSIC IN EXILE is a feature-length documentary following musicians in Mali in the wake of a jihadist takeover and subsequent banning of music. Music, one of the most important forms of communication in Mali, disappeared overnight in 2012 when Islamic extremists groups rose up to capture an area the size of the UK and France combined. But rather than lay down their instruments, Mali’s musicians fought back. Watch trailer here.
- See more at: http://hollywoodtheatre.org/sonic-cinema/#sthash.y0nbtLSN.dpuf
On April 7th multidisciplinary artist Leif J Lee will reveal their newest artwork and release issue #13 of their zine "Why a Queer Occult."
Based out of Portland, Oregon's Rainmaker Artist Residency artist Leif K Lee creates new works on paper, clay sculpture, embroidery on dyed fabric, super 8 MM film, photography, and performance work surrounding the illusive concept of queer spirits and occult practices.
Though their deeply personal, spiritual experiences, this artist enters into a trance induced creative practice, symbols, line and hand work bring about spells of drawing, sculpting and queer occult practices.
Leif J Lee's work is a shield against negative energies in the art world, a celebration of a queer spiritual underground, and a home for the lost orphan of homophobia and transphobia. With a new compus, Leif J Lee directs their intentions towards the spiritual guide residing within the queer body, previously hidden and for one night only illuminated by the black light.
Leif J Lee is a 2014 graduate of the Masters of Fine Arts, visual studies program at PNCA, and is a current artist in residence at the Rainmaker Artist Residency. Lee is a 2015 recipient of the Precipice Fund for their collaborative project, environmental impact statement. Their work has been shown in Portland Oregon's Duplex Gallery, Surplus Space, DISJECTA, PNCA, and in Olympia, Washington's Northern Gallery.
Dr. Jamal Badawi is Professor Emeritus at St. Mary's University in Halifax, Nova Scotia
Yet, at that council meeting, Commissioner Fish conceded, ”Let's acknowledge that this vote in and of itself solves nothing. "
Indeed. It did not.
Local news recently reported that Portland’s rent increases are the highest in the nation, increasing at a rate of 14% over just one month. The snooze-button emergency “renter protections” - - - 90-days notice on rent increases and no-cause evictions---did nothing to stop the exploitative price gouging. These "protections" did nothing to quiet the tsunami of forced displacement.
On April 7th, six months to the day of Portland’s declaration, we are asking you to join us in asking Multnomah County to take bold and decisive action. We can’t wait for the magical day that supply catches up with demand. We need to protect and stabilize tenants struggling to stay in their homes. We need rent control, and we need it now.
Oregon statute 91.225(5) gives local jurisdictions the power to enact rent control in a manmade disaster that results in significant material elimination of the rental housing supply.
Our rental housing has been materially eliminated by AirBnB, rampant evictions, speculative real estate practices, unregulated housing providers, and untenable rent increases.
And it is, most certainly, a disaster. We have all heard stories of the impact of housing insecurity: extreme health and education disparities, economic instability, homelessness, pregnant women and new mothers and entire families sleeping in cars or homeless camps, victims of domestic violence trapped in their abusive living situation, and even suicide. Indeed, research cited in the top selling book ‘Evicted’ shows that evictions are not a consequence of poverty, but a cause of it.
It is time for rent control; it is time for protection from no-cause evictions. Another summer of evictions is around the corner. We can’t wait. The time is now.
Strategy wires together Dickow's programming and performing experience via a hodgepodge of table top electronics, computers and realtime musicianship. Combining a granular ambient aesthetic with an abstract, percolating rhythmic sensibility, Strategy music does not find a singular sylistic expression, but rather exists along a genre-confounding continuum where all genres are created equal and primed for deconstruction. Strategy releases all his music under the same name: outcomes have taken the form of digital dub singles and remixes (for Shockout label), dancefloor singles (for ORAC and his own Community Library label), ambient and experimental music for kranky and others, and uncategorisable territories. Reflecting this, his working process includes everything from collage-based composition, to live improvisation, careful sound design and spontaneous noisemaking.
http://www.kranky.net/artists/strategy.html
Ben Glas is an interdisciplinary artist and experimental composer based in Portland, Oregon, where he is contemporarily attending the Pacific Northwest College of Art. Through multichannel installations and digitally driven performances, Ben’s work aims to question and explore the auditory perception of both individuals and groups; to help cultivate active and aware listening situations; and to install a sonic comma into reality’s sentences.
Joseph Wells
Joseph Wells is a contemporary New Media artist based in Portland, Oregon. He is constantly exploring new technologies and forms of visual media that are emerging around us, often taking systems and devices that are taken for granted in our daily lives and merging them into his artistic practice. With a short two and a half year stint practicing Computer Engineering at PSU, Joseph transferred to PNCA in the Spring of 2015 where he has been studying Video + Sound alongside Intermedia. Using his knowledge of programming and hardware design, Joseph has been using generative programming techniques and software integration into his visual design works. He performs visuals live for SubSensory and other events around the Portland area, and is currently in a band that tours throughout Oregon. His upcoming pursuits involve virtual reality headsets, generative video and sound performance, 3D printing, and abstracted hardware hacking.
soundcloud.com/sound-portfolio , http://blnkstrs.com/ben-glas ,
Ifsh
Ryan Stuewe’s last name is pronounced “Stevie,” as in “Stevie Wonder.” His earliest memory is of drumming on pots and pans on a kitchen floor in Kansas. Ifsh is his primary solo recording project and is pronounced phonetically. It is an electro-acoustic exercise in recursive self-sampling. It is about processing and re-processing sounds. Primary sources include drums, tonal percussion, tapes, other people’s music and found objects.
soundcloud (https://soundcloud.com/ifsh-it-do-ryan-stuewe)
bandcamp (https://ifsh.bandcamp.com/)
5-15, sliding scale
Santigold (pronounced Sahn-Tee-Gold; Santi like "Monty", not Santy like "Panty") has announced a North American spring tour in support of her forthcoming album 99¢, out on February 26th via Atlantic Records. Acclaimed for her monumental live shows, Santigold is taking it all to the next level in the brand new stage production.
Santigold recently shared the audio and video for "Chasing Shadows" from 99¢. Vampire Weekend's Rostam Batmanglij produced the track which features backing vocals from the West Los Angeles Children's Choir. The mesmerizing video directed by Elliott Lester, explores the conflicted reality of an artist's life, touching on themes of ambition and isolation.
PSU MFA Studio Lecture Series presents:
Contemporary Regionalism: A Conversation with Michelle Grabner
Sue Taylor, moderator
Michelle Grabner
Pat Boas
Prudence Roberts
ABOUT THE EVENT
Michelle Grabner’s interest in Regionalism informs her curatorial projects in general and her vision of the Portland2016 Biennial of Contemporary Art this year. After a presentation by Grabner, this panel will explore the how Regionalism might be manifest today, how it differs from its historical precedents, and what it may mean in the context of broader national and international trends in contemporary art. Sue Taylor will moderate a discussion that includes Grabner, Pat Boas, and Prudence Roberts.
ABOUT MICHELLE GRABNER
Michelle Grabner works in variety of mediums including drawing, painting, video and sculpture. Incorporating writing, curating and teaching with a studio practice grounded in process and productivity, she has created a multi-faceted and dynamic career. Grabner holds an MA in Art History and a BFA in Painting and Drawing from the University of Wisconsin–Milwaukee, and an MFA in Art Theory and Practice from Northwestern University. She joined the faculty of the School of the Art Institute of Chicago in 1996, and became Chair of its prestigious Painting and Drawing department in the fall of 2009. Grabner was one of the curators for the 2014 Whitney Biennial and she is the curator for the upcoming Portland2016 Biennial of Contemporary Art taking place at Disjecta and venues across the state of Oregon.
Lincoln Hall Room 75
free & open to the public
In 2009 rapper Freddie Gibbs set out to be the Midwest's unofficial street poet, releasing a series of mixtapes that were as complex as they were thuggish. Influenced by the likes of 2Pac, Biggie, UGK, and Bone Thugs-N-Harmony, Gibbs filled his lyrics with honest and compelling stories of his hometown's demise, a steady decline to which he helped contribute while a drug dealer. He dealt out of a Gary, Indiana recording studio, absorbing a steady stream of uninspired rhymes while pushing product. Figuring he could do better, Gibbs began writing his own lyrics and cut some demos that would eventually land in the hands of Interscope. When the label signed Gibbs in 2006, he moved to Los Angeles and recorded a debut album, but a year later the management of Interscope changed hands and the rapper was dropped. He returned to Gary, and then moved to Atlanta until producer Josh the Goon convinced Gibbs to return to L.A. for one more try. In early 2009 he released the Miseducation of Freddie Gibbs mixtape to critical and message board acclaim. The Midwestgangstaboxframecadillacmuzik mixtape soon followed, as did a feature in The New Yorker that found writer Sasha Frere-Jones declaring Gibbs "the one rapper I would put money on right now." Late in the year he released the 81-song mixtape The Labels Tryin' to Kill Me. As the mixtape's title inferred, Gibbs had, like Jay Electronica, become a 21st century Internet-age hip-hop star, able to draw press and earn a loyal following via downloads and mixtapes instead of the usual industry channels. He finished 2009 proudly unsigned but in 2010 he made a rare aboveground appearance with the Str8 Killa EP, released on the Decon label. Two years later he released two collaborative efforts: Piñata with Madlib, an album on the underground producer's Madlib Invazion label; and The Tonite Show with DJ Fresh, an entry in the West Coast producer's collaborative series. Gucci Mane, E-40, and Tory Lanez landed on 2015's Shadow of a Doubt, his first album for the ESGN label.
All Ages
$18.00 advance tix from Cascade Tickets
$23.00 at the door
"I had this overwhelming feeling that perhaps the apex of my life both as a musician and as an individual would be relegated to five years in my late teens/early 20s," says Omori, who was launched into the music industry when the Smith Westerns, who started in high school in Chicago, became fast-rising indie stars. "This fear really forced me to work hard as to not see the Smith Westerns as an end but as a point along a bigger trajectory."
While New Misery grew out of a difficult personal and professional time for Omori, he says the title reflects "not so much the distress that comes with failure, but the troubles and complexities that come with any type of success. No matter what you get you're going to want more, you're going to want something different. That's the catch."
The title track is a dreamy, resonant reflection on these feelings, but is also a guidepost for Omori's musical evolution. "The song starts slow and then builds with two solos," he says. "There's the guitar solo which is very much a Smith Westerns thing. The next solo is on the keyboard, which is a shift to a lot of what I'm trying to do." Synths play a much larger role in Omori's new music than in the Smith Westerns' guitar-fueled rock, as do a wide range of influences including Roxy Music, INXS, Spiritualized, Wilco, Garbage, Hall & Oates, Kate Bush, U2, and Sparks. There's also a more deliberate pop streak, inspired by the top-40 radio that would play while Omori worked at a medical supply company cleaning stretchers and wheelchairs.
"There is so much dirt in hospitals and fuzz and lint and dried blood on these things. We'd clean them down, which in a way is kind of therapeutic, and listen to the radio. Then we'd go back to Adam's (Adam Gil, current live band member) house and record demos for what was to become the skeleton of New Misery. I can't sit down and say I'm going to write a Sam Smith or an Adele song or whatever. The closest I can get to that is making like this weird hybrid of what I think is a pop song." The strongest example of this is the new wave-tinged single "Cinnamon," which Omori describes as "dark pop--it's poppy, it's fast, but it also has all the colors and tones that are kind of dark. It's self-deprecating, which was kind of where I was at emotionally. That, you know, I could have this poppy song or whatever but I don't think I'm a pop star. I'm closer to thinking I'm a piece of shit than I am a pop star."
Along with Omori, New Misery features additional bass and keyboards from Ryan Mattos, drums from Loren Humphrey, and James Richardson on guitar. But unlike with the more distributed roles within the Smith Westerns, Omori wrote, played, and oversaw nearly every part of the new album, beginning a true new chapter of his long-term creative growth.
"People would be like, 'Oh man, your band is doing really well. I saw you on the internet.' But seeing you on the internet isn't equivalent with making hundreds let alone thousands of dollars or being really successful. When I was younger I believed that happiness came from success and now that I'm older, more seasoned I find myself believing that stability over a long time is also its own type of success. I came out of Smith Westerns at 25 with no real job experience, I only knew how to play music. Writing and recording these songs for myself was cathartic, and I didn't know my destination or future, but picking up my guitar and playing was the only way I knew I'd get close to figuring it out."
Living Hour contributed two songs to Family Portrait II, a vinyl compilation put out by Art is Hard Records (Bristol/London) in April 2015, and released a super limited edition cassette of their debut s/t album with Tree Machine Records (Bloomington) that same month. The band will release their debut album world-wide with Lefse Records (Portland) on February 19, 2016.
April showers bring May flowers with the lineup to wash away your winter blues. Kicking off the 2016 season with something extra special coming to you from New York, Volvox and UMFANG of Discwoman!! Wear your dancing galoshes, ‘cause this dancefloor is gonna get flooded.
//GUEST DJs//
Volvox (Discwoman, Brooklyn) https://soundcloud.com/volvox
UMFANG (Discwoman, Brooklyn) https://soundcloud.com/umfang
Daniela Karina (Woman’s Beat League/Bed of Roses, Portland)https://soundcloud.com/danielakarina
//BRIDGE CLUB DJs//
Hold My Hand
Troubled Youth
Pocket Rock-it
Orographic
//Volvox//
Volvox has been pushing the sound and spirit of underground dance culture since 2006. No matter the situation she captures the crowd with everything from raw acid and EBM-flavored techno, to dreamy sensual deep house. Based in NYC since 2011, she currently holds one residency in Brooklyn: JACK DEPT. NYC 1st Fridays at notorious underground hotspot Bossa Nova Civic Club with John Barera of Supply Records. Since moving to NYC she has skillfully risen through the ranks of Brooklyn DJs playing breakthrough gigs for The Long Count, Lost Soul, and S!CK parties, opening for dance luminaries such as The Hacker, Heather Heart and Tony Humphries. 2015 was a breakout year appearing in Detroit, Montreal and San Juan, Puerto Rico with the DISCWOMAN crew. She was tapped to perform at POP Montreal festival by techno producer Black Asteroid as direct support for the inaugural date of his PITCH BLACK tour series. In New York she featured at Le Bain, Output and Good Room and in the fall she will be performing at Sustain-Release Festival in Upstate New York and VIA Festival in Pittsburgh as well as at DISCWOMAN showcases in Toronto and Mexico City.
//UMFANG//
UMFANG was born in the Bronx, grew up in Kansas and has been living in Brooklyn for 4 years. She quickly derailed her original plan to work in textiles and instead opted for techno. She is a resident DJ at Bossa Nova Civic Club and runs a monthly: Technofeminism, which has been met with acclaim and much support. She’s played alongside Kim Ann Foxman, opened for Zara Wladawsky & Aurora Halal’s festival Sustain Release in its inaugural year, has performed memorable sets with DIY duo Long Count Cycle and closed out DISCWOMAN in Puerto Rico. UMFANG is one of the leading women in the rapidly growing New York City techno scene and has releases coming out on 1080p and videogamemusic.
//Daniela Karina//
Daniela Karina channels underground club beats from around the world to share her vision of a polyrhythmic Pangaea with the dance floor, finding inspiration in emerging transcultural sounds and reinvented ancestral rhythms. She can be found bringing the fringes of global dance to the Pacific Northwest as a resident at Club Tropicana. Daniela is co-founder of Women's Beat League, a group of female and non-binary identified people interested in music production and DJing dedicated to skill-sharing, providing access to equipment and creating opportunities via hosted workshops, lectures and event curation.
//About Discwoman//
Founded by Frankie Hutchinson, Emma Burgess-Olson and Christine Tran, Discwoman is a New York-based platform, collective, and booking agency—representing and showcasing cis women, trans women and genderqueer talent in electronic music. Started as a two-day festival in September 2014 at Bossa Nova Civic Club Discwoman has since produced and curated events in 15+ cities—working with over 150 DJs and producers to-date.Discwoman.com
//About Women’s Beat League//
Based in Portland, Oregon, Women’s Beat League is a group of female and non-binary identified persons. We are dedicated to skill sharing and providing access to equipment in inclusive and safe spaces, and strive to create empathetic learning environments. Women’s Beat League offers opportunities for its members and the greater community with hosted workshops, lectures and event curation.
//About Bridge Club//
Portland’s gay/lez/queer/all-loving daytime dance party. You're favorite Sunday T-Dance is revamped for 2016 and excited to bring Portland its finest cuts of: House, Disco, Techno, Club, DIVA, and more...
FIRST SUNDAYS // APRIL - OCTOBER
WHITE OWL SOCIAL CLUB
3PM // $5 // 21+
In this hands-on workshop you will learn the basic techniques of bark grafting (topworking). This method of grafting will allow you to combine different varieties and species of fruit into a single tree during the Spring season.
<<Click here to register now for the 4/2 Bark Grafting workshop>>
1080p members:
Bobby Draino
Auscultation
Love in this Club residents:
Nathan Detroit
Ben Tactic
21+, $7 day of show
CJ Boyd: solo experimental bass and voice, on perpetual tour since 2008. Joyful Noise Recordings / Obsolete Media Objects
Felisha Ledesma: constructing cathartic and minimal pieces with a patchwork of field recordings, synthesizers, tapes, and voice.
Gordon Ashworth: magnetic / acoustic concrete music.
8 PM to 10 PM /// Bring cash for the touring artist /// No jerks.
One of the first Swedish rappers to break across the globe, Yung Lean kicked off his career with the Sad Boys, a crew with a name that reflected the melancholic nature of Lean's music. Born Jonatan Leandoer Håstad, Lean was 16 when he joined producers Yung Gud and Yung Sherman in the Sad Boys around 2012. A year later the crew was releasing tracks under Yung Lean's name, including "Ginseng Strip 2002," which earned two million views after it became a viral hit. The Unknown Death 2002 mixtape landed that same year along with the Lavender EP, which gave "Ginseng Strip 2002" an official release. His Unknown Memory album followed in 2014 and was supported by a tour of Europe and North America. A year later he cut the "Crystal Clear Ice" single for the Adult Swim label. Written by David Jeffries
All Ages
$20.00 advance tix from Cascade Tickets
$25.00 at the door
ABORIGINAL FLOWERS
http://www.niceartgallery.com/Margaret-Preston/Aboriginal-Flowers.html
BEACH GIRL
(( Cat Mummies at the Louvre Side Project ))
https://archaeologistsdiary.wordpress.com/2016/01/27/cat-mummies-from-the-louvre/
PEE YEW
https://answers.yahoo.com/question/index?qid=20110901164237AAs2RyS
Wine ! Gaety ! Flowers ! Fear ! Anxiety!
This is kind of a mystery show, furthermore nothing is as it seems.
All Ages. You could bring a donation.
Melanie Flood Projects presents Indifferent Horizons, a solo exhibition of new work by Teresa Christiansen exploring the perception of space in photographic depiction. In addition, we are pleased to host a discussion on contemporary photography with the artist and Dr. Julia Dolan, the Minor White Curator of Photography at the Portland Art Museum.
Christiansen works with photographs she takes of elements of the natural world to point to our complex relationship to it, approaching landscape as the organization of space. The pieces in this exhibition draw their titles from Robert Smithson’s photographic essays “Incidents of Mirror-Travel in the Yucatan” (1969) and “A Tour of the Monuments of Passaic, New Jersey” (1967), both published in Artforum. Through his writing and the photographs that accompanied each essay, Smithson asserted his subjectivity and active experience of the places he explored. He used the camera as a way to question the conventional representations of a “closed landscape,” in which a point of view is based on intentional boundaries, defining “a self-sustaining autonomous limit within a containing framework...that excludes breaks or interruptions.” On the other hand, he wrote, the “open landscape…embodies multiple views, some of which are contradictory, whose purpose is to reveal a clash of angles and orders within a sense of simultaneity.”[i]
Indifferent Horizons responds to photographic representations of landscape, and is rooted in Smithson’s concept of the “open landscape.” Christiansen combines and mutates photographic prints to mirror the way the camera acts as a mediator of experience. Cuts, rips and folds in the printed surface disrupt the continuity and deconstruct the solidity of the landscapes depicted. By juxtaposing views of opposing places, she invents an impossible space that embraces a dichotomy of simultaneous depth and flatness. These interventions break the photographic illusion of transparency through an insistence on physical presence and tangible form.
Indifferent Horizons is the third in an ongoing artist series at Melanie Flood Projects, Thinking through Photography, an exploration of artists working with photography today. The series includes a comprehensive survey of contemporary photographic practices through programming that highlights experimental and diverse approaches to image making. Facilitated by exhibitions, artist talks, studio visits, interviews, and suggested readings which aim to expand the language surrounding photography, while also unveiling progressive work by local artists in the Pacific Northwest & beyond.
Teresa Christiansen was born and raised in New York, NY and currently lives in Portland, OR where she is an Assistant Professor at Pacific Northwest College of Art. Teresa received her MFA in photographic studies from ICP-Bard in 2008, and worked as an Assistant Photographer at the Metropolitan Museum of Art for nine years. She has exhibited her work nationally, including New York, Philadelphia, Portland, and Los Angeles. Most recently she has shown work at Aperture Gallery and chashama in NYC, The Art Gym at Marylhurst University, Newspace Center for Photography in Portland, and in the Philadelphia Photo Art Center’s Annual Exhibition. She was a 2007 winner of PDN Photo Annual, a 2013 Regional Arts & Culture Council grant recipient and a summer 2014 Wassaic Artist Resident.
[i] Smithson, Robert. “Art Through the Camera’s Eye (c. 1971).” Robert Smithson: The Collected Writings. Ed. Jack Flam. Los Angeles, California: University of California Press, 1996. p. 374
April 1- May 15th 2016
Artist Discussion: May TBA
Closing Reception: Sunday May 15th 12-3pm
Gallery Hours: Saturdays 12pm-5pm and by private appointment
Exhibition dates: April 1 - May 28, 2016
Opening: Friday, April 1, 6-8pm (Introduction by the curator at 7pm)
For additional programs: bit.ly/NSupcoming
ABOUT THE EXHIBITION:
No country incarcerates a higher percentage of its population than the United States. More than 2.2 million people are currently locked up in the U.S.—a number that has more than quadrupled since 1980. But sadly, the lives lived behind bars are all too often invisible to those on the outside. Prison Obscura, curated by Pete Brook, sheds light on such experiences and the prison-industrial complex as a whole by showcasing rarely seen surveillance, evidentiary, and prisoner-made photographs. The exhibition encourages visitors to ask why tax-paying, prison-funding citizens rarely get the chance to see such images, and what roles such pictures play for those within the system.
Alyse Emdur’s prison visiting room portraits from across the nation and Robert Gumpert’s recorded audio stories from within the San Francisco jail system provide an opportunity to see, read, and listen to subjects in the contexts of their incarceration. Juvenile and adult prisoners in different workshops led by Steve Davis, Mark Strandquist, and Kristen S. Wilkins perform for the camera, reflect on their past, describe their memories, and self-represent through photographs. The exhibition moves between these intimate portrayals of life within the prison system to more expansive views of legal and spatial surveillance in Josh Begley’s manipulation of Google Maps’ API code and Paul Rucker’s animated video. Prison Obscura builds the case that Americans must come face-to-face with these images to grasp the proliferation of the U.S. prison system and to connect with those it confines.
Artists/Projects:
Josh Begley
Brown v. Plata
Steve Davis
Alyse Emdur
Robert Gumpert
Paul Rucker
Mark Strandquist
Kristen S. Wilkins
Curator: Pete Brook
Pete Brook is a San Francisco-based freelance writer and curator interested in social justice and the politics of visual culture. He writes and edits Prison Photography (prisonphotography.org), a website that analyzes imagery produced within, and about, prisons, with a focus on the American prison industrial complex.
For more information on Prison Obscura:
http://newspacephoto.org/prison-obscura/
http://exhibits.haverford.edu/prisonobscura
Prison Obscura is a traveling exhibition curated by Pete Brook and made possible with the support of the John B. Hurford ‘60 Center for the Arts and Humanities and Cantor Fitzgerald Gallery at Haverford College, Haverford, PA.
Illustration by Ellen Gould
In the tradition of the open mics at the old Cafe Lena, or the spoken-word happenings at the Jasmine Tree Tiki Lounge, the Hour That Stretches is a cross-genre spoken word event with nearly three years under its belt, a rabidly loyal audience and a constantly-evolving roster of fresh talent from many scenes. Pushcart Prize-nominated author Edward R. Morris and several filthy assistants, including Witch Mountain drummer Nathan Carson, scour many literary scenes for the best of the best and bring them to the Hour stage. The setup is live, intimate and loud, and audience members have called it, "an authentic Portland experience."
The Hour That Stretches began at the Jade Lounge, moved to the Hawthorne Theatre and has now found a more permanent home at the Lovecraft Bar every First Friday. Details here:
https://www.facebook.com/HourThatStretches/?fref=ts
https://www.facebook.com/events/1055486531181982/