MUSEO//12

Check out the latest issue of MUSEO, which features an interview with Shana Moulton, as well as a gallery of screen captures.

Remains

Would we no longer
Be ashamed of being
The remains of us
And what they are
Withholding while we
Decimate other peoples
Money is a necessary
Evil morality tells me
To blow it out my ass
Suck it up like I was
Not condemned by
Common sense the
Senses of your abstract
Loads depleted by
Grammar governance
And training let's make
A new orifice sew
It up let's fuck like
Dollar bills infinitely
Exchangeable but with-
out actual value
Would we no longer
Be a resource.

Bharat Jiva / No Gender launch event

Please help us celebrate the release of

Bharat Jiva by kari edwards
kari edwards: NO GENDER
Reflections on the Life & Work of kari edwards
edited by Julian T. Brolaski, erica kaufman, and E. Tracy Grinnell

Monday, October 12, 2009
@ Dixon Place (161 Chrystie Street)
doors at 7pm, event begins at 7:30pm sharp
Admission is $6 at the door

with readings by:

Rob Halpern
Akilah Oliver
Marcus Civin
Brenda Iijima
Bill Marsh
Tim Peterson (Trace)
Fran Blau
Julian T. Brolaski
CAConrad
Anne Waldman

kari edwards (1954 - 2006) was a poet, artist and gender activist, winner of New Langton Art's Bay Area Award in literature (2002). edwards was the author of have been blue for charity (BlazeVox, 2006) obedience (Factory School, 2005), iduna (O Books, 2003), a day in the life of p. (subpress collective, 2002) a diary of lies, Belladonna #27 (Belladonna Books, 2002), obLiqUE paRt(itON): colLABorationS (xPress(ed), 2002), and post/(pink) (Scarlet Press, 2000). edwards' work has appeared in numerous publications, such as anthologies Blood and Tears: Poems for Matthew Shepard (Painted leaf Press, 2000), and Electric Spandex: anthology of writing the queer text (Pyriform Press, 2002); as well as been exhibited throughout the United States, including Denver art museum, New Orleans contemporary art museum, University of California (San Diego), and University of Massachusetts (Amherst).

Speculating on Change at Vera List Center

Michael A. Cohen
Speculating on Change: Four Paradoxes of Our Urban Future
Friday, October 16, 2009 - 6:30 to 8:00 p.m.
The New School, Kellen Auditorium
65 Fifth Avenue, between 12th and 13th Streets
New York City
Admission: $8, free for all students, New School faculty, staff and alumni with valid ID
www.veralistcenter.org

Each year, an inaugural lecture launches the Vera List Center's annual theme, defining the intellectual territory that will be explored in public programs throughout the year. The lecturer introduces the theme in the broadest sense, serving as a guide to the range and richness of the topic at hand, and rooting the concept within The New School's intellectual tradition.

This year's programs call for a speculation on notions of "change," specifically some of the descriptions, procedures and perceptions associated with change that inform collective action, whether political, scientific, or cultural. The inaugural lecture is delivered by Michael A. Cohen, Director, The Graduate Program of International Affairs at The New School.

The current global economic crisis demonstrates the impact on the economic welfare and political stability of both rich and poor countries of accelerating global flows of people, ideas, capital and competition for control over human and natural resources. Cohen discusses cities both as sites of the greatest impacts of global change, but also as sites providing solutions to some of the challenges that result from such change.

--------------------------------------------------------------------------------

Michael A. Cohen (Ph.D., University of Chicago) is Director of the International Affairs Program. He also works as Advisor to the Dean of the Faculty of Architecture, Design, and Urban Planning of the University of Buenos Aires. Before coming to the New School in 2001, he was a Visiting Fellow of the International Center for Advanced Studies at New York University. From 1972 to 1999, he had a distinguished career at the World Bank. He was responsible for much of the urban policy development of the Bank over that period and, from 1994 to 1998, he served as the Senior Advisor to the Bank's Vice-President for Environmentally Sustainable Development. He has worked in over fifty countries and was heavily involved in the Bank's work on infrastructure, environment, and sustainable development. He is a member of the U.S. National Academy of Sciences Panel on Urban Dynamics.

Cohen is the author or editor of several books, including most recently Preparing the Urban Future: Global Pressures and Local Forces (ed. with A. Garland, B. Ruble, and J. Tulchin), The Human Face of the Urban Environment (ed. with I. Serageldin), and Urban Policy and Economic Development: An Agenda for the 1990s. Other recent publications include articles in 25 Years of Urban Development (Amersfoort, The Netherlands, 1998), Cities Fit for People (Kirdar, ed., 1996), The Brookings Review, Journal of the Society for the Study of Traditional Environments, International Social Science Review, Habitat International, and Finance and Development. He is currently completing a study of urban inequality in Buenos Aires. He has taught at the University of California at Berkeley, The Johns Hopkins University, and the School of Architecture, Design, and Urban Planning of the University of Buenos Aires.

What Came to Be Called Values

--for kari edwards after reading Bharat Jiva

I.
Since we are disciple
And we are disciplined

The sky rhymes with interpellation
And history rhymes with sorrow

I plays dead the real
Dead can't even counter-

fire or be recalled
At a speed faster
Than the speed of light

A sun without shadow
Shining in these holes
And other holy
Places of disagreement

Your shrapnel erotica
Your maze of skin
Tests living labor

Make us governable
Virtuosos yet you keep moving

A kind of angel of discourse
I.e. an instant

Messenger mediating
The memoir of our mnemotechnique

What came to be called values.

II.
Play dead no one no longer will
Will this maze of skin

Docile flesh performance who is a hostage
To their inherent values

I am listening to your time sense
To the gerunds in your breath

That won't let your body be possessed
By anything except catastrophe

And negative experience which is a mode
Of I without name or defense

Our death and their deaths become porous
Yet irreplaceable

Neither the sky or the earth are transcendent
But present a world outliving us.

OCTOBER 129: Chan and Buchloh

I don't normally read OCTOBER. And not because I don't admire it. I was raised on it, but for some reason I just forget it exists sometimes. Reading some of the current issue, I was very moved by Paul Chan's "The Spirit of Recession" and Benjamin Buchloh's "Raymond Pettibon: After Laughter." Chan is one of the most intellectual and politically minded artists I know working today, and his piece goes to show it as he takes apart the cultural politics (if not the obscure economics) of 'recession' through recourse to autobiography, essay, and polemic about the state of visual arts. Buchloh's "After Laughter" is a brilliant and clear reading of Raymond Pettibon's oeuvre situating the artist's work within a tradition of fine art and political caricature. His basic argument: that Pettibon goes beyond caricature in order to invent a rhetorically slippery drawing practice that can adequately respond to post-70s Right-wing 'spin' and (post-) Reagan-era power dynamics. Not having written (or even had an intelligent conversation) about Pettibon's drawings before, but always having admired them, I was very moved to read something that so clearly expressed my own intuitions towards Pettibon's work. Buchloh's article makes me wonder who is taking-up Pettibon's rhetorically astute caricature among a younger generation of artists. And what writers/poets have a sustained drawing practice in the service of their politics.

Twitter Crackdown

Twitter Crackdown: NYC Activist Arrested for Using Social Networking Site during G-20Protest in Pittsburgh * Elliot Madison was arrested last month during the G-20 protests in Pittsburgh when police raided his hotel room. Police say Madison and a co-defendant used computers and a radio scanner to track police movements and then passed on that information to protesters using cell phones and the social networking site Twitter. Madison is being charged with hindering apprehension or prosecution, criminal use of a communication facility, and possession of instruments of crime. Exactly one week later, Madison's New York home was raided by FBI agents, who conducted a sixteen-hour search. We speak to Elliot Madison and his attorney, Martin Stolar.

Listen/Watch/Readhttp://www.democracynow.org/2009/10/6/twitter_crackdown_nyc_activist_arrested_for

Books & Magazines I Received this Past Year

that I have not written anything about (yet) but enjoyed reading and would highly recommend to others:

Etel Adnan's There (Post-Apollo)
George Albon's Step (Post-Apollo)
Jose Felipe Alvergue's us look up / there red dwells (Queue Books)
Animal Shelter vol. 1 (ed. Hedi El Kholti)
Alan Bernheimer's Billionesque (The Figures)
Brandon Brown's Camels (TAXT)
David Buuck's 17 Reasons Why (Mission 17 Gallery)
David Buuck's Buried Treasure Island: a Detour of the Future (BARGE)
David Buuck's The Shunt (Palm Press)
CAConrad's Advanced Elvis Course (Soft Skull)
Damn the Caesars vol. 5 (ed. Rich Owens)
Marcella Durand's AREA (Belladonna)
Marcella Durand's Traffic and Weather (Futurepoem)
Rob Fitterman's The Decline and Fall of the Roman Empire (Edge)
Rob Fitterman's War, the Musical (Subpress)
Ted Greenwald's 3 (Cuneiform)
Ted Greenwald's In your Dreams (Blazevox)
Ted Greenwald's Two Wrongs (Cuneiform)
Rob Halpern's Weak Link (Slack Buddha)
Carla Harryman's Open Box (Belladonna)
Geof Huth's Eyechart Poems (Queue Books)
Brenda Iijima's Rabbit Lesson (Fewer & Further Press)
Lisa Jarnot's Night Scenes (Flood)
Paul Foster Johnson's Refrains | Unworkings (Apostrophe Books)
Judith Goldman's The Dispossessions (Atticus / Finch)
Erica Kaufman's Censory Impulse (Heretical Texts)
David Larsen's Names of the Lion (Atticus / Finch)
Sara Larsen's Novus (Earthworm Press)
Joel Lewis's Learning From New Jersey (Talisman)
MIMEO MIMEO vol.'s 1/2 (Cuneiform Press)
Miranda Mellis's Materialisms (Portable Press)
Geoffrey Olsen's End Notebook (Petrichord Books)
Rich Owens' Delaware Memoranda (Blazevox)
P-Queue vol. 6 (ed. Andrew Rippeon)
Prismatic Publics: Innovative Canadian Women's Poetry and Poetics (ed. Kate Eichhorn and Heather Milne, Coach House)
Frances Richard's Shaved Code (Portable Press)
Andrew Rippeon's Priest (Vigilance Society)
Satellite Telephone vol. 1 (ed. Robert Dewhurst)
Jennifer Scappettone's Err-Residence (Bronze Skull)
Joshua Schuster's Theater of Public Safety (Handwritten Press)
Dale Smith's Susquehanna (Punch Press)
Joanathan Skinner's With Naked Foot (Little Scratch Pad Editions)
Sasha Steensen's The Method (Fence)
Rodrigo Toscano's Collapsible Poetics Theater (Fence)
Rachel Zolf's Human Resources (Coach House)

Two Poems For Friendship

I.
Deserve your enemies my friend
Because the world is burning
From eloquence and all the fake

Shit that is made for consequence
To hide behind supposed disparity
And pretend to be the conscience

Of the world all I really wanted
Was to have an honest conversation
All the world wants for conversation

But your flaming leaves it cold
A kind of lack for lack's sake
A flick that can't cover our larger

Insalvageables distances grow
In our breath like some possible
Community formed in what remains.

II. The Progress of Our Naïveté
-for Rachel

Or "patiency" which is not
The opposite of agency as
Rob often says but the inverse

Of willing ourselves to con-
stantly be a master over
Objects the more one knows

The more one listens to
The gaps in everything we
Do like those soldiers abroad

Firing into a daylight not
Anybody's to destroy who
Controls those docile bodies

And what will be their subject
Is not just an abomination
Of what we cannot see

But a fleeing into the holey
Spaces they have made
Despite our beautiful theories.

ECOPOETICS 6/7 Launch at Artbook/X Initiative

ECOPOETICS 06/07 at Artbook/X Initiative

A nomadic, “pop-up” launch and open house Oct. 14th, 4-6pm. Readings from 5-6pm inside Fritz Haeg’s Dome Colony space at Artbook/X Initiative 548 W 22nd St., NYC.

Readings and performances with Rodrigo Toscano, Lee Ann Brown, Thom Donovan, Julie Patton, Emily Abendroth, Jonathan Skinner and others to celebrate the release of the latest issue of ecopoetics (06/07).

The editor of the magazine will be present from 4-5pm to discuss the project. / Ecopoetics 06/07 (covering 2006-2009), packed with poetry, prose, criticism, translation, interviews and artwork from nearly eighty contributors. An Australian Eco-Poetics section, guest-edited by Michael Farrell. A Theodore Enslin feature. Interviews with Gary Snyder and mIEKAL aND. New work from Mei-mei Berssenbrugge, Benjamin Friedlander, Forrest Gander, Joan Retallack, Andrew Schelling, Gary Snyder, and others. Bilingual pages from Antonio Ochoa and Angélica Tornero. Collapsible poetics by Rodrigo Toscano. Rachel Blau DuPlessis’s “Nanifesto.” Artwork by Christine Boileau, Justin Clemens, Ray Meeks, Isabelle Pelissier and Stephen Vincent. Ten color plates. Bark beetle translations, sound walks, field pages, slow texts, dictionaries of imagined flora, and more . . . Copies of the magazine will be available for purchase, also available through SPD.

Notes On Conceptualisms Review at BOMB

Check out my review of Rob Fitterman's and Vanessa Place's Notes on Conceptualisms currently up at BOMB's blog. Thanks to BOMB editor Mónica de la Torre for her feedback and encouragement.

"Whereas conceptual art prioritized the dematerialization of the art object as a means of overcoming art-as-commodity, conceptualist practices in recent poetry deconstruct the authority of author and text by prioritizing ideas as the principle source of a work’s authority. Doing so, conceptualist writers invite their erstwhile readership into a discourse about poetry’s function as a site of institutional, epistemic, pedagogical, and social authority (rather than into debates about how “good” or “bad” a poem may be). Economics is still a big target for poetic conceptualism, but not so much the status of the poem as commodity since poetry tends to operate in a much smaller economy than that of visual arts (the poets whom I know best, for instance, tend to subsist through a gift economy by which the poet is communally vetted, whereas visual artists tend to operate in an economy of commodity exchange even when their works are contesting the very economic system through which their works find subsistence.)"

For Eleni and David

Armies swerve in your breath
Become porous to perfect rest
Insist their guts give out

That the plague is everywhere
We will have been without
Organs or an agreement

To no longer do violence
Committing shit in the other's
Mouth loving the face for when

It isn't eyes all full of ink
I would spill a million tons
If it would bring the dead back

And end these wars become
What we would have become
Were the world so cited.

Abigail Child is blogging

from Rome: http://abigailchildroma.blogspot.com/

Damn the Caesars vol. 5

Check out the fifth volume of Rich Owens' Damn the Caesars, which includes a gallery featuring new work and an interview by Brenda Iijima and Tyrone Williams.

Blood of the Beasts

--for Dorothea Lasky and Brenda Iijima, after Temple Grandin

The painlessness we all inhabit the
Stancheon and the pressure that holds
The body holds one within their own
Eternity what they must have felt as
They entered it not nirvana but a cold

Of the senses wiring the mind that is
Not us but is what we do from the remove
Of a camera that is not life being lived
But our deaths performed in advance

There is an automation of the eyes
That brings the whole to peace when
The animal is touched and not whipped
Ritual is what survives them the soul
Is anything that remembers this.

The Mobile Archive opens tonight...

...at Art in General. Here is an excerpt from an interview I conducted with Mobile Archive curators Galit Eilat and Chen Tamir, which will appear in FANZINE soon:

Thom Donovan: Do you see an evolution to the archive based on the different places it's traveled to? Do you perceive moments when the archive has changed dramatically? Moments of sea change in the collection?

Chen Tamir: It's always changing because each institution adds up to twenty-five DVDs. By definition it changes each time because it has to with each stop.

Galit Eilat: But I think the archive also depends on which institution is curating it, and making decisions about how to deal with it, how to present it. So it's not just the content, but also the form. What discussions will come with it? Discussion can arise around different issues related to the archive. So we are not only talking about the video works themselves, but how they become articulated. That's what I mean by "form."

TD: So each different institute articulates the meaning of the archive in its unique way?

GE: It's a different context. Different curators choose to show different works to a particular audience.

TD: Why are archives which cross international boundaries important?

CT: I think it's about facilitating dialogue and cross-cultural exposure. The work that's in the archive is coming from very personal perspectives, but together they create evidence of certain mind-frames within cultures, certain issues important to particular cultures. The more these videos are watched the more understanding we gain. For example, a lot of the works in the archive are from Israel or Palestine, the Middle-East and Eastern Europe, and for them to come to New York right now while the US is at war with Iraq and Afghanistan and in an economic war with the entire world makes it extremely urgent that we establish dialogue between cultural producers from those parts of the world.

GE: For me, it started with the permanent archive, and using videos from the archive in presentations. The traveling archive grew out of a desire to share with other places and also out of the idea that other institutes would contribute something we were not aware of or we don't have the possibility to communicate with because it is from another country, continent or nation. All of this was especially important given the geopolitical context where I come from, where there is not much dialogue between countries. By having the archive travel it is easier to engage in dialogue. Already the archive has contributed quite a bit in this way.

CT: It's also interesting to think about the economy of these archives. A lot of artists don’t upload their videos online because this is not a framework they'd like their work shown in--they would prefer exclusivity for their work, for it to be presented in a gallery--but they do want the exposure a traveling, exhibited archive provides for. And the archive is more like a library since none of the works were purchased, but given to the archive by artists for distribution. You could think of it as a library of viewing copies of these works which otherwise would have market value but do not because they are not editioned. But they do have value. They are physical things, and we have them. Someone may have paid $5,000 for them, and it's in their house, or a museum may have purchased them. It's sort of a parallel economy.

TD: So it's somewhere between the YouTube model and the exclusivity of a private collection?

GE: The archive foregrounds the symbolic value of art works. In fact, we may distinguish a collection from an archive in terms of an archive's symbolic value. The former is dealing more with market value, the later with symbolic values. This is one way to imagine a different economy. What if we distribute works without instruction, without a manual? How then to communicate with the artists and between institutions? The value of works of art become determined more and more by how they are shared.

TD: Could you clarify the term "symbolic value"? I think I know what you mean, but just wanted to make sure.

CT: Cultural value vs. economic value. You can't put a price on it.

David Wolach on his Occultations

David Wolach has made interesting mention of the Nonsite Colletive in relation to his Occultations, a book which I would recommend, especially for those interested in intersections between cultural politics and visionary poetics. Here is an excerpt from Wolach's full essay, which can be found online here:

The work of those who have contributed to Nonsite Collective—Rob Halpern, Taylor Brady, Kaia Sand, David Buuck, Jules Boykoff, Thom Donovan, Eleni Stecopolous, and others--gives us a related, but higher-stakes and, I think, richer poetics in this regard. A couple years into exploring these questions, Rob Halpern invited me into the conversations that Nonsite was (is) having. The discussions have been enormously generative, as Nonsite was (is) asking, in various ways, those very questions: what the use of our explorations might be, how metaphor (here, in contemporary experimental poetries) obscures and yet has the potential to reveal that which is obscured—those sites and nonsites (i.e., systems of power/powerlessness mapped or made perceptible) that are socially invisible (Zukofsky: "As the eyes / near wreck / to create"). In their draft proposal, Nonsite affiliates write: "[Nonsite] will activate affinities between an array of efforts to make perceptible, apprehend, map, or narrate consequential social phenomena and occulted disasters." Reading this, having a book called and dealing with occulted disaster, really excited me, and nearly immediately Nonsite conversations complicated the project. And so Occultations, indeed the poems here, have become more than insular explorations; they've become conversations and at times critique of how and whether poetry is in a position to "make perceptible" or "narrate" "occulted disasters."

So, beyond the more obvious interest in the occulted disaster—here, in these poems, the languages of "news by internet" and "poetry while fucking" and "shotgun healtcare" and “pharmaceutical discourses” rehearse a flaccid attempt to lay bare to a capital-driven wartime suffering and know if not acknowledge the econsystems of those who are completely other—I'm also interested in poetry as occulting itself, or, perhaps more precisely, the degree of inertness the contemporary western poetic black market expresses in the face of systemic/global disaster—what Buuck (The Shunt) dubs “war dash time.” Are we, in fact, in asking these questions, our own category errors?
--David Wolach

Walking Through Walls

-for Galit Eilat and Rachel Zolf

That they could
Walk through walls
Not at all a miracle
Not at all miraculous

Like walking on wa
ter turning stones
To bread raising
The dead the real

Revelation that they
Are walking through
Walls to kill people
To kill the little ones

On the other side
Of that wall can not
Make us feel any
thing but some eerie

Sense one gets some
times from having
Mistaken the figural
For the literal the

Metaphoric for what
Is all too real like
When Toni Morrison
Speaks of "tongue

suicide" we can ima
gine real tongues
Going before teeth
In the mouth so far

Beyond speech are
We so far behind
What could have
Possibly been said.


I am thinking of
Walls differently now
Than when they came
Down as a result
Of your gun site
As a result of your fist
Pounding against
The doors of the powerless
Your Sawzall cutting
A hole to the other
Side of the wall
We have stories to
Prove this and
All of them are false
Never was there
Salvation in not
Being captured.

For The Mobile Archive

Was it so strange
For the soldiers to
Encounter art a hole

In space forming between
The people and the
Multitude the people

Could have been did
They say it was strange
I can see through walls

All of a sudden I can
Finally see through this
Wall I've defended

For so long but which
Hasn't defended me
Art becomes a defense.


Checkpoints and time
Which embodies you
If they have tried

To disaggregate your
Collective experience
Of time perhaps it

Is this disaggregation
Which becomes common
A bond formed

Where we could not
Be the constant
Impossible transit

Pass that was our
Imaginary the ghost
Of those who couldn't

But had to pass through
Solid walls the loss
Of those who wouldn't.


I hear your blood
It will not be like

My blood through this
Wall it will be like

The world disappeared
And for a moment

We discovered a new
World where our blood

Should have been
A trace where those

Bodies won't be out-
lined a place where

The bombs don't
Continue to strike in

Our minds for zero
Sum games these

Softer powers of
Diffusion having no

Design so suddenly
O so suddenly

Tarrying with what
God could be instead.


But there are not
Even videos here
Which could account

For those ruins
But if there were
Videos which could

Account for those
Ruins which could
Transmit whatever

It means to be
Ruined they would
Be here they would

Be here a million
Miles from nowhere
In the desert of

Our conversation
The certain distances
Of our discourse.


Pathos we're fucked if we only love
A sound the voice makes and not
The words not what the words mean
Again turning to the darkness again

We're fucked if all we're doing
Is saying things if we're only saying
Them in the way they're supposed
To be said our love's all talk.

Catherine Sullivan et al at Metro Pictures

Paulina Olowska, Stephen G. Rhodes and Catherine Sullivan

September 17 - October 17, 2009

Metro Pictures
519 West 24 Street
New York, NY 10011
www.metropictures.com

Based far from New York and each other—Poland, Los Angeles and Chicago—Metro Pictures brings together new work by each for this season-opening exhibition.

Paulina Olowska's 5 large-scale collages use an autobiographical narrative featuring a young couple riding in a vintage Volkswagen convertible under a large umbrella that shields them from the dynamic and dangerous: taxes, former loves, desires, doubts and the past. These images relate to Olowska's 2007-2009 sculpture Car Mobile, a large Calder-esque steel mobile that will be installed in Miami in December. The collages are silkscreen on paper and fabric, with gels, tape, foil, oil marker and crayon.

Stephen G. Rhodes combines video, painting, sculpture, photography and drawing to weave history and memory, reality and fiction in ambitious and complex multimedia installations. This new work is based on the Disney theme park attraction The Hall of Presidents and centers on dual video projections mirroring each other inside an upturned Oval Office. Each video features the remains of Animatronic versions of Presidents Lincoln and Washington enduring numerous indignities including being bullwhipped. Also in the installation are two of Rhodes' Vacant Portraits, paintings that reference the dull portraiture found in local banks, country clubs or The Hall of Presidents. Rhodes paints the sitter as abstracted ghostly residue. This series was introduced with a cacophonous installation shown in New Orleans as part of Prospect 1 in 2008.

Catherine Sullivan's new single-channel film LULU – Or: To What Ends Does the Bourgeoisie Need Despair is based on the 1978 affair between silent film star Louise Brooks and British theater critic Kenneth Tynan who was also the creator of the erotic musical review Oh! Calcutta!. Sullivan's work consists of original film as well as appropriated footage from a televised 1971 production of Oh! Calcutta! and Brooks' 1929 film Pandora's Box. Sullivan restages the climax of Pandora's Box (a scene in which Brooks' character Lulu is murdered by Jack the Ripper) portraying Kenneth Tynan as Jack and the elderly Louise Brooks as Lulu. Characters derived from Oh! Calcutta also inhabit the interior where this scene takes place. The film fuses all of the footage through overlays and dissolves, hoping to create the effect of Tynan's sexual imagination.

Paulina Olowska was born in 1976 in Gdansk, Poland and lives and works in Warsaw. She attended the School of the Art Institute of Chicago (BFA 1996); and the Academy of Fine Arts, Gdansk, Poland (MFA 2000). One-person exhibitions include Portikus, Frankfurt (2007); Sammlung Goetz, Munich (2007) and the Tate Modern, London (2008). Group exhibitions include the Museum of Modern Art, New York (2008); 5th Berlin Biennial (2007) and Centre Pompidou, Paris (2007).

Stephen G. Rhodes was born in 1977 in Houston and lives and works in Los Angeles. He attended Bard College in New York and Art Center in Pasadena, California. He has had recent exhibitions in New York, Los Angeles, Tokyo and Berlin and was included in Younger than Jesus at the New Museum (2009) and Prospect 1 in New Orleans (2008).

Catherine Sullivan was born in 1968 in Los Angeles and lives and works in Chicago. Her numerous one-person exhibitions include the Walker Art Center, Minneapolis; the Tate Modern, London; Secession, Vienna; Kunsthalle Zürich, Switzerland and The Renaissance Society, University of Chicago.