Alison Sweet

EMERGING ARTIST GRANT EXHIBITION - PHOENIX ART MUSUEM - APRIL 29th - MAY 22nd

2011-05-02T11:43:00.000-07:00

In the spring of last year I was awarded an "Emerging Artist Grant" from Contemporary Art Forum which is a Phoenix Art Museum group. The grant gave me the final push in my undecided mind to travel to Idaho for the summer and document my Grandparents life and endeavors.

The first project to come out of this endeavor is the documentation of my Grandfathers wood carvings that he created in the last twenty years since his retirement. My Grandfather, Joseph A. Snyder, has always been a folk artist and a story teller but took up wood carving in 1989 when he retired to Idaho City, Idaho.

WHITTLIN'

Is series of photos, a stop animation video and a documentation video was shown at Five15 Arts during the month of November 2010. (Further information below)

Now, two 30 x 40" documentation photos are on display in the Phoenix Art Musuem in fulfillment of my Emerging Artist Grant Award.

Below is the information for the exhibition, the WHITTLIN' Project, as well as the reception on MAY 11th.

PHOENIX ART MUSEUM

CONTEMPORARY ART FORUM

EMERGING ARTIST GRANT EXHIBITION

APRIL 29TH - MAY 22ND

2010 Award Winners:

Claudio Dicochea, Debra Edgerton, Xochitl Higuchi,
Mary Lucking, Adria Pecora, Kris Sanford, Alison R. Sweet

RECEPTION:
MAY 11th, 2011 WEDNESDAY
AN EVENING WITH TANIA KATAN
7PM

A Private Reception for CF Members and their guests will follow in the
Museum Café to celebrate and honor the 2010 and 2011 Award and Grant Recipients.

Phoenix Art Museum – Whiteman Hall
Central at McDowell

Everyone is Welcome – Admission is Free

ALISON R. SWEET
Photos from

WHITTLIN'

in the
Phoenix Art Museum
Emerging Artist Exhibition

Dolby, Digital Photograph 2010

Ma Ma, Digital Photograph 2010

Joseph A. Snyder is a folk artist born in 1919, he created hundreds of wooden carvings for his own enjoyment over the past 20 years of his retirement. Joseph is a passionate story teller and has ever changing stories about each one of the carvings he creates based off his life experiences through the great depression, WW2, working on ranches in rural Montana and driving truck throughout the West, amongst many other things.

Alison Sweet is from the small mountain town of Idaho City, ID. She has spent the last six years in the Phoenix valley and received a BFA in Intermedia from Arizona State University. Alison's primary medium is digital photography and video. She is very interested in history, specifically western United States history and how it relates too and effects our culture today. She is passionate about the documentation of self and our personal existence.

With the grant from Contemporary Forum Alison was able to upgrade her camera equipment and spend the summer back home in Idaho documenting Joseph A. Snyder's folk art and stories through digital photos and video.

Whittlin'

2010-10-20T12:14:00.001-07:00

WHITTLIN'

November 5th - 22nd 2010

Five15 Arts

515 E. Roosevelt Street

Phoenix, AZ

A multi-media Exhibition by

ALISON R. SWEET

featuring the Carvings

JOSEPH A. SNYDER

Image: The Senior Citizens

WHITTLIN'

My newest exhibition at Five15 Arts is called Whittlin'. It is a multi-media show featuring the work of folk artist, Joseph A. Snyder.

Joe is an unknown folk artist from Idaho. He started carving wood, as his main hobby, over 20 years ago in 1989 when he and his wife were retiring to the small mountain town of Idaho City. Prior to working with wood he had used a variety of other mediums. For example: he was an avid leather worker, making purses, belts and wallets for everyone in his family. He also was a painter, a rock collector, a handyman and made his own latch hook scenes. His carvings started with bears and boots and progressed into an entire array of people, animals, objects and canes. His first bear was made out of a 2x4 and was quite skinny. Joe teases , as he often does, "That the bear had a hard winter." Joseph was a prolific craver creating hundreds of objects in his basement workshop and still carves today, at the age of 91, although at a slightly slowed rate.

Joe Snyder is also my maternal Grandmother, I grew up, in Idaho City, visiting my Grandparents almost every Sunday. Thus, I was around his constantly growing collections of carvings as it developed. There were multiple Cowboys, moonshine makers and hobos, many based on stories from Ekalakah, Montana where my Grandmothers homestead was. My Grandfather is also quite the story teller so there were many stories told in conjunction with the various carvings. There are bears, birds, farm animals, some realistic and some from stories such as the rabbits from my Grandmothers favorite story as a child, Peter Rabbit. This is how I remember my Grandfathers carvings from childhood, a slew of brightly colored characters and animals with stories and fantasy to go along with them.

Image: Road Kill

I returned to their home for the summer of 2010 as an adult, with an art degree expecting to see things in a different light. Other, than a deeper appreciation of the skill and artistic commitment it took to create this large body of work, my perception of the carvings hasn't changed very much. I believe that the carvings are really rather amazing and extremely unique.

There has always been an aspect of my Grandfather that was sorry that nobody, other than family and friends, ever saw his work. His home, stuffed full of his carvings have never really been shared. Due to my own gallery opportunities and my appreciation for his endeavors I decided to put on this show. Using his passion and creativity in conjunction with my own to create a hybrid presentation of his carvings.

Image: Goaty Goat

The show will be consist of framed digital prints of a selection of the carvings, a projection of a majority of his 300 plus carvings, a series of stop animations made with his carvings and a video documentary piece featuring Joe and his process.

The Hound that Gets Around from Alison Sweet on Vimeo.

This will be my second solo show at Five15 Arts and my third big show since graduating last May from Arizona State University. I help to co-curate the A.E. England Artlink gallery and have worked with various artists on their Phoenix projects. I was also awarded an emerging artist grant this year from Contemporary Art Forum via The Phoenix Art Museum.

Whittlin' will open on November 5th at Five15 Arts. Five15 Arts is open Friday's 5-9pm and Saturdays 1-5pm, it is located at 515 E. Roosevelt Street in Downtown Phoenix. The show will be open from November 5th through November 22nd. Additional gallery hours can be facilitated by contacting me at Shoe Made Of Cheese at Gmail.

Image: Patrick The Bay Horse

Image: Pa Pa and Ma Ma Bear

Captain Cornelius O'Connor

2010-08-24T09:39:00.000-07:00

As part of my endeavors while staying with my Grandparents this summer, I have been researching the families history. I have never, previously, been particularly interested in genealogy or my family history. I thought it always a little bit strange because many people come to it as trying to find out who they are. I've always thought that searching for some sort of justification of self is silly.

However through my growing interest in history and the development of the American West I have come to the point of researching portions of my family history and where they were in it all.

MY GREAT GREAT GREAT GRANDFATHER, CAPTAIN CORNELIUS O'CONNOR

My Great Great Great Grandfather, Captain Cornelius O'Conner was born on September 17th 1821 In Cork County, Ireland. His father Timothy H O'Conner (Born 1786 in Cork County, Ireland) brought my Great Great Great Grandfather to Boston Massachusetts in 1829 at the age of eight years old. He was raised in Boston Massachustes and learned the carpenter trade. They were of the catholic religion.

Captain Cornelius O'Connor at 62 years old. September 8th, 1882
(My birthday as well as my Great Great Great Grandmothers)

This is the back of the photograph, because I find the back just as interesting.

James Hamilton Photography, Sioux City, Iowa
James Hamilton was a pioneer photographer who was born in 1839 in Kentucky, according to the book, Pioneer Photographers from the Mississippi to the Continental Divide, A biographical Dictionary 1839-1865. He ran a photography studio in Sioux City in his later life and is known for his stereographic series of farms, Indian chiefs, camps and burial grounds.

Cornelius O'Connor was a veteran of the Mexican War which took place from 1846 -1848. He would have been 25-27 at this time.

In 1851 at the age of 30 he married, Cathrine M. Duggan, also an immigrant and a Catholic from Ireland. She has the same birthday as myself, September 8th -- but she was born in 1831 in Shandagan, Ireland.

Both of my Great Great Great Grandparents where Virgos.

Catherine M. Duggan, born September 8th 1831, Shandagan, Ireland.

The date of this photograph is unknown but because it is a cabinet photograph the rough date can be assumed by looking at the aspects of the card, although it is still not completely accurate.

The Cabinet Portrait format was not universally adapted until 1870.
This card has rounded corners, is quite thick and it has very large logo on the back which according to one source would put it in the 1880's.

This photo is a classic example of Cabinet Photography, the original print is on a 4 x 6 inch poster board.
Cabinet photography began taking the place of Carte De Visite process as early as 1860 but had been replaced by home photography snapshots by 1900's. The Cabinet photograph was an albumen print and the biggest difference from the prior popular process was that the cards where easily displayed on mantels and cabinets, thus the name. Prior to being used for portraits the cabinet print was used horizontally for landscapes. The backs of the cabinet portraits often had complex logos advertising the photographer, as does this photograph of Catherine Duggan/O'Connor.

In 1852 at the age of 31 he relocated with his wife to New York City where he worked as a carpenter and had their first son, My Great Great Grandfather, Cornelious J. O' Conner on September 22nd 1855.

He stayed in New York for five years until He took the steamboat up the Missouri River to the town of St. Johns City in 1857, which was a Catholic Irish colony formed just the year before in 1856. This was also during the time of the mad rush to the west, included in their numbers were the Mormons, and Nebraska was generally the jumping off point.

Nebraska was on the edge of the "frontier" at that time and the area had many violent encounters with Native Americans, amongst them --
In 1857 on March 8th, 140 miles away in Spirit Lake, Iowa a "renegade" Dakota chief, Inkpaduta, attacked and massacred the population amongst the homesteads. This was not the first homestead they had descended upon. This was in retaliation to several injustices served to the Native people by white settlers.

Most likely due to Corneliuses military connections from the Mexican War, he was appointed by the Governer of Nebraska territory in 1858, which was William Alexander Richardson at the time, to be the captain of a company to suppress trouble with the Native Americans. He was then Captain Cornelius O'Connor.

The captain was a very busy and involved man in the progression of Nebraska.
In1858 he became the assessor in St. Johns during the very fist election held there. He served in the 8th and 11th territorial legislature during a time when the country was at odds with each other. He was a staunch democrat and supported those principals during this time. He was a delegate for the Nebraska constitutional convention when the Nebraska received it's statehood in 1867. He was the director of the dakota county school for twenty years and a charter member of the Farmers Club in Dakota County.

When first coming to Nebraska they lived on a land claim on Elk Creek where they lived in a one bedroom home with all of their children, until they started planning their huge, 14 bedroom, home on 1,000 acres just outside Homer, Nebraska in the bluffs. The Captain was a carpenter and contractor and supervised the building of the home along with doing much of the work himself.

I have found conflicting dates about the start and the finish of the building. One source says it was started 1865 and completed in 1875. The museums website says the home was started in 1875 and fully complete in 1879 -- although they had their eldest daughter, Helena's Thomas Green's, marriage breakfast in the home in 1875. Even that is a conflicting date because another history says Thomas Green married Helena O'Connor May 2nd 1876. So I am uncertain. Thomas Green was also an Irish Catholic immigrant who was doing quite well in the brick business is Sioux City, Iowa

(The date of this photo is unknown, the home was not started in 1865 and not fully completed until 1875 but I do not know the date they actually moved in. This photo does not have any photographer markings on it at all. I only know that the top little look out portion of the house blew off in a tornado in 1890 so it had to be taken before that. So sometime between 1875 and 1890. The top has been rebuilt on the current museum.)

IT is a good example of rural american Italianate architecture and was quite luxurious for it's time.
The stair case is hand carved by O'Connor made of walnut cut from his property.
There is a marble fireplace inside that they had imported from Italy.
The fondation is built of rock, stones shifted and fitted together to create a solid foundation.
The home is now a museum in Homer, Nebraska.
Here is the website, it has a god-awful song that plays when you open though:

http://www.dakotacountyhistoricalsociety.com/oconnor.htm

The date of this photo is unknown as well, There is an imprint on the card stock below the photo that reads:
Peabody's Studio, Lyons, NE
Lyons was not even an incorporated town until 1884 -- many of the children died in 1889, so I would imagine the photo was constructed before this time unless they just added the photo after the fact, which is entirely possible. They possibly even made this photo due to the death of so many of the children.

He had ten children total, many died early from tuberculosis except for my great great grandfather Cornelius J. O'Connor, Timothy and Helena.

The names of all the children are Cornelius, Timothy, Helena, Mary, Daniel, Julia, Charlotte, Katie, Maggie, Frank.

I have contacted the Dakota historical society to see if they can tell me which one is which.
The only know which one Cornelius is.
My Grandmother believes that the museum does not have this photograph of the house with the ten children. I haven't heard back as of today.

I haven't been as successful about finding out information about the Captain in his later life, although I am sure he was quite busy. I am working on researching the next couple of generations of O'Connors.
Captain Cornelius passed away in Homer, NE August 15th 1902 and his wife Catherine lived until December 14th 1917, also in Homer NE.

Their son, My Great Great Grandfather, Cornelius J. O'Connor was a prominent member of Nebraska, ran a bank and held a couple of different offices.

His son, Arthur O'Connor, my Great Grandfather had tuberculosis and traveled to New Mexico's Fort Stanton for treatment.
I will be doing further Tuberculosis research in relation to Arthur and americas history.

I am doing my best to research and put dates and people together. If I am incorrect on anything it is not on purpose, and I have found conflicting dates on multiple things.

-Alison Sweet

The Grandfather Project 2010

2010-05-17T19:17:00.000-07:00

This is my new project and life endeavor. In a few weeks I will be relocating to Idaho City, ID to start work on what, at this time, I am calling The Grandfather Project. If you would like to support this project financially, it is listed on a website called Kickstarter.com, which allows artists of various sorts to solicit their friends for "pledges" to complete their project.

Here is the link to my Kickstarter platform, pledges run through AMAZON.
http://www.kickstarter.com/projects/alisonsweet/the-grandfather-project

The Grandfather project will be video documentation of a lifetime of stories told by my grandfather, Joseph A. Snyder. Joseph Snyder is currently 90 years old and has been married to my grandmother, Rosemary Snyder, for 64 years. They have lived their entire lives in the western United States and are thus living pieces of 20th century western life and culture.

Anyone who has lived for 90 years would have an interesting perspective on life to share but additionally Joseph Snyder has lived an incredibly diverse intriguing existence that is worth hearing about. When his life began he was put up for adoption, only to be reclaimed by his Jehovah witness mother at the age of six. His mother then lied about his age in order for him to work in the coal mines at an earlier age and this is just the very beginning……..

Joseph and Rosemary Snyder continue to live independently in their log home in the rather remote Idaho mountains above Idaho City, Idaho.They now live a quite life, playing a daily game of cribbage together. They are both avid readers and hobbyists with my Grandfather carving and my Grandmother making quilts and knitting.

Their Duquette Pines home near Idaho City, Idaho

While, Personal documentation accounts are immediately valuable to the family and interested parties, these first hand cultural narratives gain even more historical value and relevance as time passes and there is no longer anyone around to provide the perspective from their generation.

The Grandfather Project is scheduled to take place summer of 2010 -- as the project gets underway short stories will be available for view online along with photos and project updates to project pledgers.

In addition to the video documentation, there were also a be a photos series based on my grandparents own artistic endeavors and a digital archive of the six generations of photographs that are in their possession.

After the completion of the video recordings, a longer video piece will be available as well as a series of fine art photographs that will be shown at Five15 Arts in Phoenix, Arizona in the fall of 2010. The work will also be shown at The Phoenix Art Museum June of 2011.

Playing Cribbage -- November 2009

Myself with my grandfather in their home, November 2009

Thank you for taking the time to read my blog and I would greatly appreciate it if you would consider making a pledge on Kickstarter.com

http://www.kickstarter.com/projects/alisonsweet/the-grandfather-project

The Bird Cage -- multi-media Installation by Alison Sweet and Cory Weeks.

2010-05-14T09:21:00.000-07:00

THE BIRD CAGE at ARTLINKS AE ENGLAND GALLERY

The Bird Cage was a multi-media installation featuring 21 portraits of Modern Day women, a video of interviews and about 800 feet of recreated hand made wallpaper.

The title of the show along with its wallpaper pattern is from the infamous Bird Cage theater in Tombstone Arizona. Tombstone was a boomtown due to the discovery of silver in 1877 before Arizona was a state. it was often a very tough place to survive and yet was also one of the fanciest and richest towns in the west during it's time. The Bird Cage theater was only in operation from 1881 to 1889 but during that time it developed a reputation for debauchery, violence and prostitution.

The Bird Cage gained it's name from the fourteen cribs on the balcony level of theater were legal prostitution took place. Few women actually chose a life of prostitution, although there were a few that did for adventure, its then lucrative nature, or as an escape from the potentially dull life of a housewife. More Often though, when women would lose the men in their family they would have little other option than prostitution or suicide and many women chose the latter.

The artists don't intend this to be a show about prostitution or elude in anyway that the modern day women in these portraits are prostitutes. The intention is to examine women's place in history and in Arizona history both historically and currently.

Cory Weeks and Alison Sweet are both recent graduates of Arizona State University and modern day feminists dedicated to furthering the cause of women's rights and equality both politically and culturally. The days of The Bird Cage were really not that long ago in history and while, women's rights have certainly progressed since then there is still a long ways to go before men and women are truly equal in society. The hope in these portraits is to envision how the future "wild west" will embrace the value of women in society. This vision includes equal pay, gender equality, and destruction of the modern stereotypes of beauty.

The women in the portraits are the artists friends and fellow female artists that agreed to sit for a "wild west" persona portrait and share their story about how they came to Arizona and their roll in modern times. In preparation for the portraits the women were also encouraged to bring items to be included as props that related to them as
individuals as well as females. The portrait style was inspired by a different "notorious" place, Storyville, New Orleans and the photos by Ernest Bellocq.

Here are a few of the portraits that were in the show:

Installation photos
Artlink AE England Gallery
424 Central Avenue
Civic Space Park

I submitted this project to The Contemporary Art Forum of The Phoenix Art Museum and was selected to receive one of their 2010 material grants. I presented the project to Contemporary Art Forum and will be able to show the project I am planning for this summer in the Phoenix Art Museum for month in the spring of 2011.

"Grand Opening" -- Night Gallery -- Tempe Marketplace

2009-12-03T13:08:00.000-08:00

Hello Friends,
I am participating in a group MFA Intermedia show at Tempe Marketplace's Night Gallery and the opening for the show is tonight. The show runs from December 3rd, tonight until December 18th.
I will be the gallery point person on December 17th so if you would like to come in on a calmer night and talk to me, that is when I will be there. I can also meet people there if there is another night you want to come by. The hours for the gallery are 6pm - 9pm.
Below are all the graphics for the show by the greatly talented Derrick Reed.

My piece is a new 16mm light box piece that is three-dimensional, thus you can walk around it and explore. It is called “Your Memories for Sale”
Your Memories for Sale features acquired homemade 16mm film strips. The film strips were procured through e-bay from various sources across the country.

The films were created by individuals to capture and document specific times and events for those particular people and yet through an unknown chain of events they have become lost and unclaimed. These films now have no back-story or reference as to who these people where, when exactly these filmed events took place or what happened to them.

I am personally fascinated with these lost memories because of my own obsession with the documentation of my life, surroundings and occurrences.

The bottom tier's film is of a family vacation in Hawaii, the second tier is of children at Christmas. The third tier is a film from Washington State that features Lake Samish and a solider from Fort Lewis. The top tier is a film of a vacation in the Florida Keys that is dated 1958, the only film that is dated.

Sixteen millimeter film was first created by Kodak in 1923 and it became very popular for home movie use from the 1950's through the 1970's. Sixteen millimeter film is fascinating both as a physical object and as cultural documentation. The film so clearly captures movement and existence frame after beautiful frame.

Your Memories for Sale
16mm film, glass, wood, light
2009
Installation day

Your Memories for Sale -- detail
16mm film, glass, wood, light
2009
Installation day

Video Graphics Piece for the show by Derrick Reed

Gallery Show Graphics from Spicy Fud on Vimeo.

Images from 16mm light box showings at Five15 Arts and Artlinks Heritage Square

2009-10-27T16:31:00.000-07:00

Images from 16mm light box showings at Five15 Arts and Artlinks Heritage Square

Grocery Film, Educational 16 mm Film 1972,
The one on the right was sold to the Gass'

The Line Man, Electrical Safety 16 mm Film, unknown date
Purchased by Media Buying Services as a gift for Arizona Public Service.

Faces, educational 16mm film, 1972
Currently hosted by Brad and Jesse in the 70's vintage house.

Girl to Women, elementary female sex education 16mm film, 1958
To the left is the digital conversion of the film, to the right is the light box containing the actual film.

Quickie, pornographic 8mm film, unknown date

I am in the begginning stages of a new sculptural structure light box piece using 16mm home movies for a show at The Night Gallery in Tempe Marketplace the first two weeks in December.

Five15 Arts -- August Show

2009-07-24T19:55:00.000-07:00

Hi, I am Alison Sweet and I am having my debut solo show at Five15 Arts this August. Five15 Arts is a contemporary art space in downtown Phoenix. It is part of Roosevelt row and is a main stop on the Art Detour shuttle bus that runs on the First Friday of the month which for August 2009 is Friday the 7th. So, please come down and check it out if you are available. Support the arts and have a beer or a glass of wine with me and check out the new work.

The show is a series of light boxes of various sizes that display and illuminate strips of 16 mm film made primarily in the 1970's. They consist of educational films such as a film about grocery stores, sking and women’s bodies -- home movies of fishing trips and birthday parties -- and of course, my personal favorite pornography both homemade and professional.

The films have primarily been acquired through the widespread wonder of ebay, that facilitates both preservation and acquisition by wanting parties of objects that may otherwise be thrown away or left to deteriorate.

Sixteen Millimeter film was first created by Kodak in 1923 as an economical amateur alternative to the larger 35 mm film. During the mid-century, 16 mm film was increasingly used to make educational films, safety films, and news reels for government agencies, businesses, medical practices, and classrooms. Due to its affordability and relative ease of use the format played an important part in the growth and use of motion pictures outside of the official Hollywood movie. It was important stepping stone in audio visual history to get to the place we are now in our current cultural relationship with video and moving images.

Series of frames from 1970 Kaleidoski French Ski team 16 mm film

Sixteen millimeter film is fascinating to me, as an object, because it so clearly captures movement one beautifully exposed, tangible, frame at a time. You cannot pause digital video and get the kind of clarity that film provides and you certainly cannot pull it out of its casing to study the visual breakdown. It truly captures moment after moment of a very specific time and place.

Frames from a 1972 16mm Blue Movie

I am interested in the visual breakdown of movement due to my ongoing obsession with making stop animation which involves creating a series of images that when played together depict motion. I am also a product of the 80's and the dreaded VHS thus I had never really previously been exposed to tangible motion picture film frames and the concept of your eyes ability to see objects after they have been removed, which is the phenomenon of perception of vision.
I have used a variety of films in the show but my favorite light boxes are the pornographic pieces.

Single frame from 1972 16mm Blue Movie

I find the pornographic films so engaging because of its special visual breakdown, its history and its cultural context. Pornography, despite society’s attempts to sweep it under the proverbial rug, infiltrates all mediums and makes up a significant portion of production due to its never waning popularity. This is especially true for 16mm film; the first “hardcore” action ever publically shown was shot on 16mm film which largely replaced the 35mm sexploitation films of the previous generation. *Hardcare is defined as visual penetration, and was referred to as "the meat shot". In the fifties and sixties penetration was not shown on film, there was rarely any sort of plot and the sex was equated to violence and morbidity. In the seventies with the vantage of 16mm film younger people made films dedicated to total explicitness and attempted to portray it in a more artistic light.

Single Frame from 1972 16mm Blue Movie

To construct the light box pieces, I took selected sections of the various films, primarily strips I found to be the most visually interesting and laid them out side by side on a piece of glass. This allows visual inspection of the progression of the movement being captured on film frame by frame in addition to giving the viewer an overall impression of the style of film as a whole. Some of the light box pieces show the film in the order it was on the reel, other boxes show a collection of selected subject matter, such as the close ups of the faces talking, in non-sequential order to create my own subject matter or stories.

Series of film strips from a 1973 educational 16 film about food and grocery stores.

The process shared similarities to my more common personal practice of video editing, which is the medium I usually work in as an artist. It was a reversal of my roll of a stop animation artist. Usually I am taking photos and converting them into motion while this was taking this motion picture and converting them into kind of a large illuminated photo.

On many of the films I have cut off the sprockets used to send them through a projector because I found them distracting when illuminated but there are a few pieces that leave a few sprocket strips on as well as a few strips that leave the audio strips attached when relevant. The audio strips are rather interesting because you can visually see the change in the audio track as the film progresses.

Series of arrange film strips from 1973 educational 16mm film about food and grocery stores.

The show does not have a cheesy title to clue you in or lead you down the path to artist enlightenment. I am not against titling a body of work if the title seems fitting but I didn’t want to throw some cheap over-arching vague designation just to fulfill the equation that is the standard art show. So thus other than my name, the show is untitled. It is a showing of my interest in the motion and history of 16mm film by mean of illuminated light boxes hung on the walls.

I have an amazingly cool postcards of my artwork with the gallery hours on the back -- I have a ton of them so if you would like one, please send me your physical address and I will gladly mail you one -- or more. Contact me at shoemadeofcheese{at}gmail.com

The gallery hours are below, so if this sounds remotely interesting to you I encourage you to come down and see me in the gallery.

Thank you!

Gallery Hours:
Friday 5 pm - 9 pm ... or so....
Saturday 1 pm - 5 pm ... or so....
Please call me and let me know if you would like to come down and see the show on a weekday evening or on a Sunday. I will gladly open the gallery.

First Friday is August 7th

Artist reception will be August 21st.