27 07 2011
#2818

Aura of Alan Moore

as captured by the eye of Simon Fowler at I'll Be Your Mirror London 2011

26 07 2011
#2817

Alan Moore & Stephen O'Malley

Had a great performance at the Portishead curated "I'll Be Your Mirror" / ATP event on Sunday, Alexandra Palace London. Live soundtrack & reading to a 45 minute excerpt of the 1962 Harry Smith's "Heaven & Earth Magic"

Many thanks to all involved in making this happen & the amazing audience of capacity size (2800 people).

14 07 2011
#2812

RECOMMENDED: Joan La Barbara - Voice is the original Instrumen

VOICE IS THE ORIGINAL INSRUMENT

Joan La Barbara

Collection of early works and her first vocal compositions, originally released on LPs in the 1970s and early 1980s on her own Wizard Records. La Barbara says,

One of my earliest pieces, "Hear What I Feel", was a self-exploratory, sensory-deprivation experimental work, designed to help me discover new sounds, delve into psychological aspects, as well as communicate with the audience on a pre-verbal level of awareness. After spending an hour in isolation with my eyes taped shut and not touching anything with my hands, I was led our into the performance space where my assistant had placed a variety of substances in six small glass dishes. As I touched the material, I tried to give an immediate vocal response to what I felt both emotionally and physically, without the benefit of visual information. I expected the shock of bringing a solitary state of mind into the heightened awareness of a performance situation to intensify my experience, and the poignancy of my "prepared" state to affect the audience. The sounds are presented here in their raw state; it is truly an experimental work with no intentional musical implications or designs. "Voice Piece: One-Note Internal Resonance Investigation" explores the color spectrum of a single pitch. "Circular Song" was inspired by the circular breathing technique of horn players. "Des Accords pour Teeny", an exploration of multi-phonic technique or choral singing, was dedicated to Teeny Duchamp. In much of my early work I dealt with sound as a physical presence, sculpting it, building up layers in complex constructions, letting the flow of thought and the visualization of sonic gestures direct my studio art. Voice Is the Original Instrument was both a statement of purpose and a manifesto as, through various experiments and explorations, I tried to rediscover the basic function of the voice as the first means of expression as well as to release untapped sonic material. As I gave my classically trained voice its freedom, letting it direct me toward new places and ideas, I developed what was a unique vocabulary and used those sounds to score an orchestra of layered voices.

Joan La Barbara: The Reluctant Gypsy's Balancing Act

There's a funny wave of nostalgia sweeping New York these days: it's a nostalgia for the New York avant-garde. While it's not clear exactly which avant-garde everyone is nostalgic for (it seems to vary depending on age group and agenda), it's safe to say that there is a hunger and interest for what happened here in the arts from, say, the mid-50s through the early 80s. Everybody wants to claim a piece of classic downtown culture for themselves: witness Carnegie Hall's multi-year Cage / Feldman festival; or Lollapalooza headliners Thurston Moore and Jim O'Rourke's appearances with Merce Cunningham; even Phil Niblock's long-running Experimental Intermedia has been co-opted by a new generation of kids as one of NYC's premiere laptop glitchwerks venues.

Early on, John Cage was asked by a European composer how, living in New York, he was able to compose so far from the centers of culture, to which Cage responded "how are you able to compose so close to the centers of culture?" Fifty years later, New York has become firmly established as its own center of culture, replete with its own set of legends and histories. Joan La Barbara figures prominently -- as a performer and a composer -- into these narratives.

New York in 2003 couldn't be more different than the New York where many of the recordings on these discs were made. I think that the current nostalgia has to do with a complex group of factors -- social, economic, and political -- that add up to the fact the New York of the early 70s is gone forever, never to return again. These CDs might be time capsules of a bygone era. Listening to them transports you back to a time when time was more available, when space was more available, when community was more available, when money was more available, and when there seemed to be endless amounts of energy harnessed toward the realization of new forms.

Writing in 1975 about a concert La Barbara gave in Washington Square Church, Village Voice critic Tom Johnson referred to Joan La Barbara "… as a musician who is, at the moment anyway, fully devoted to basic research." He likens her endeavors to the efforts of Einstein in science or Webern's in tonality. What strikes me about this comment is the idea that there was, not long ago, formal musical innovations left to be unearthed. Let me clarify my hyperbole: having grown up in an environment of quotation, appropriation, looping, and sampling, it's eye-opening that as recently as twenty-five years ago, artists could still be hammering out original vocabularies.

The first CD, Explorations, is astonishing in the amount of new vocabulary that La Barbara adds to the field of vocalization. This disc makes one realize that by 1974, innovative vocal work was still an emerging field, with La Barbara as its lead practitioner. What distinguishes her from her precedents -- Cathy Berberian comes to mind -- is La Barbara's hands-on exploration of sound.

These recordings are so emotional and vivid that it's like you are in the room with La Barbara: you almost feel her breath on the back of your neck. As a listener you become an active participant in her explorations. When she titles a work Hear What I Feel, there's a clear line of transference from object to performer to audience. Sharing the experience is one of the basic tenets of La Barbara's generation. Demystifying and revealing the process by which an artwork is made is another; the artist is no longer an isolated, modernist presence (as Berberian tended to be). Instead, artist and audience are fused.

I think it's another reason for nostalgia. Today community and process are so different. Audiences are less often face-to-face; instead they're spread across computer networks, tending toward non-geographically specificity. Technology has changed the nature of recordings as well. Today, no one knows what elements are found, stitched together, manipulated or swiped. Nor does it matter. But back in the mid-70s, it did.

At the end of Johnson's article, he states, "[La Barbara] nor anyone else has thus far taken the new material into a product development stage. But I, for one, am just as glad. The phenomena she is working with are in many ways more interesting in this raw experimental form than they would be if they were shaped into some more impressive musical product…" The second CD, The Music, takes that step; it is indeed "impressive musical product." No longer live, now taken into the studio and manipulated, an entirely different relationship is established between artist and audience. New types of voices also emerge. They're all La Barbara's but now the variety and complexity is staggering. Things get very dense, so thick that La Barbara creates a name for them: Sound Paintings. No longer vocal explorations, they are now formal compositions. The earnestness, the vulnerability, and the process that was so foregrounded on the first CD is now completely obscured. It's hard to know -- to quote a popular phrase from the period -- "Is it live or is it Memorex"?

The Music is full of enigmas and stunning technical achievements. Twelvesong, is an athletic feat consisting of twelve individual vocal tracks. Each was recorded in real time: that's twelve tracks -- each sung for twelve a minute duration -- all recorded and mixed in one day! On Vocal Extensions, the human voice is extended with the help of technology as opposed to the sheer wind-power found on the first CD. On 1977's Cathing, La Barbara samples Berberian's voice, and wraps her own around it, creating a critical self-reflexive hall of vocal mirrors.

CD 2 is what pulls La Barbara out of the nostalgia camp and plunks her into the category of relevance. It's here that she really breaks the field wide open into the future. How many artists working in the classical or new music fields were incorporating sampling into their practice at the time? Her many technical achievements found on this disc are nothing if not prescient for today's practices.

So there you have it: a split set. CD 1 is the past; CD 2 is the future. CD 1 is never going to happen again; CD 2 is happening now. CD 1 is the New York that was, gloriously frozen in a specific time and place; CD 2 is what McLuhan-predicted: the non-centric, electronic, multi-linguistic space that we live in today.

It strikes me as a space that La Barbara is comfortable in. Something tells me that these discs, too, will be released into the vast peer-to-peer file sharing networks, spreading themselves around the world, finding their way into remixes, made into alternate versions, reprocessed by common computer software to become new compositions unto themselves. (Perhaps they'll even be woven with Britney Spears hits into the next "smush" or "bootleg" hit. Don't be surprised...) The point is, I think, that La Barbara anticipated unstable media over 25 years ago. At once fluid and grounded, scored and improvised, spontaneous and studied, Joan La Barbara remains our reluctant gypsy.

Kenneth Goldsmith is a poet living in New York City. He's a DJ on WFMU, the editor of UbuWeb (ubu.com), and a music critic for New York Press.

Notes by Joan La Barbara

In the early Seventies, I performed extensively in European and American galleries and museums with Philip Glass, Steve Reich and the Sonic Arts Union, and was exposed to a great deal of conceptual art.  This exposure, along with the approaches and compositional styles of the composers with whom I was working, greatly affected my thinking about the relationship between music, art and sound, and how I could express my ideas in this realm.  My work with John Cage further freed me from pre-conceived notions about what music was supposed to be and which sounds could be considered musical.  

In selecting from my early work to include in this collection, I decided to include only those which exclusively explored my primary instrument, dividing the material into two groups, and placing theExplorations and études on the first cd. 

One of my earliest pieces, Hear What I Feel, was a self-exploratory, sensory-deprivation experimental work, designed to help me discover new sounds, delve into psychological aspects, as well as communicate with the audience on a pre-verbal level of awareness.   After spending an hour in isolation with my eyes taped shut and not touching anything with my hands, I was led out into the performance space where my assistant had placed a variety of substances in six small glass dishes.  As I touched the material, I tried to give an immediate vocal response to what I felt both emotionally and physically, without the benefit of visual information.  I expected the shock of bringing a solitary state of mind into the heightened awareness of a performance situation to intensify my experience, and the poignancy of my “prepared” state to affect the audience.  The sounds are presented here in their raw state; it is truly an experimental work with no intentional musical implications or designs.

Voice Piece: One-Note Internal Resonance Investigation explores the color spectrum of a single pitch.  By focusing the tone, placing it in as many different resonance areas as possible, I produced myriad timbres, along with isolated overtones and “undertones” (the overtone series turned upside down) which eventually came to be called “multiphonics” (the simultaneous singing of several pitches or tones). 

Circular Song was inspired by the circular breathing technique of horn players.  In adapting it for singing, I chose to vocalize both the inhale and the exhale, and designed a circular mirror-image graphic score that displayed the directionality and breath changes on a series of broken glissando patterns and multiphonics.

Des Accords pour Teeny, an exploration of multiphonic technique or chordal singing, was dedicated to Teeny Duchamp, who encouraged my early compositional activities.

Les Oiseaux qui chantent dans ma tête (the birds who sing in my head), is a series of ululations, birdlike calls and sonic gestures.  Both works were recorded for broadcast on Radio France on a program produced by Joséphine Markovits.

For the second cd, I chose works I consider to be more complete musical compositions, extending the vocal experiments through electronics and layering them into “sound paintings” and “soundances”.

Vocal Extensions was my first exploration into the realm of live electronics, utilizing commercially available devices designed for electric guitar players (phase shifter, frequency analyzer similar to a ring modulator and echo/reverb unit) to further expand and extend my vocalizations.  Abruptly changing settings, I used the equipment as a source of surprise, working with the resulting sounds as an improviser reacts to other musicians.

Twelvesong was commissioned by and recorded at Radio Bremen, produced by Hans Otte. It was the first of my “sound paintings”, a sonic fabric which reveals itself over its twelve minute duration much as a painting is experienced: one takes in the whole and gradually, over time, notices more intricate detail.  I placed the sounds onto tape much as a painter adds certain colors, gestures and strokes.  I experience much of my vocal material visually before and as I produce the sounds, and many of my scores consist of or contain graphic elements.

q-/-uatre petites bêtes was inspired by the word separation and spatialization of Marcel Duchamp’s 4-postcard piece and my image of the four little beasts.  I created four unique characters with distinctive sonic languages and energies and set up an encounter in an imaginary clearing as a quadraphonic soundance.

In Cathing, I took “found language”, a radio interview given by Cathy Berberian during the intermission of my Holland Festival concert (June 19, 1977), and broke it apart, treating her words electronically while using my extended vocal techniques to weave a sonic texture around the deconstructed material.

Autumn Signal was my first “soundance”.  Inspired by the shifting words of Emmett Williams’ textwork “Sweethearts” and the multiple viewpoints of Merce Cunningham’s choreography, I used the Buchla synthesizer to alter my own text and to spatially locate and move sounds in space.  Adding a live vocal part over the tape, I premiered the work in concert, for Walter Bachauer’s multicultural Metamusik Festival in Berlin.

In October Music: Star Showers and Extraterrestrials I vocally painted the sparkling night sky above the California coastline, juxtaposing shooting stars with other-worldly sounds in a galactic storm.  I recorded and engineered the work myself in the seldom-used analog studio at IRCAM in Paris.

In much of my early work I dealt with sound as a physical presence, sculpting it, building up layers in complex constructions, letting the flow of thought and the visualization of sonic gestures direct my studio art.  “Voice is the Original Instrument” was both a statement of purpose and a manifesto as, through various experiments and explorations, I tried to rediscover the basic function of the voice as the first means of expression as well as to release untapped sonic material.  As I gave my classically-trained voice its freedom, letting it direct me toward new places and ideas, I developed what was a unique vocabulary and used those sounds to score an orchestra of layered voices.

cd 1: Explorations

Voice Piece: One-Note Internal Resonance Investigation (©1974)
         for amplified voice alone
         premiere: December 9, 1974 at St. Mark's Church, NYC
         recorded in concert at University Art Museum, Berkeley, California, February 26, 1976
         recording engineer:  Pat Kelley
         originally released on LP "Voice is the Original Instrument", Wizard Records RVW-2266 (1976)

Hear What I Feel (©1974)
         a performance piece involving sensory deprivation for amplified vocalist with assistant
         premiere: January 15, 1975 at Washington Square Church, New York City
         recorded in concert at premiere; recording engineer:  Rich Cook

Circular Song (©1975)
         for amplified voice alone
         premiere: December 19 & 20, 1975 at Environ, New York City
         recorded in concert at University Art Museum, Berkeley, California, February 26, 1976
         recording engineer:  Pat Kelley 
         originally released on LP "Voice is the Original Instrument", Wizard Records RVW-2266 (1976)

Des Accords pour Teeny (©1976)
         for voice alone
         recorded and premiered on Radio France, broadcast November 4, 1976

Les Oiseaux qui chantent dans ma tête (©1976)
         for voice alone
         recorded and premiered on Radio France, broadcast November 4, 1976

cd 2:  The Music: Sound Paintings, Soundances and Electronic Extensions

Vocal Extensions (©1975)
         for amplified voice with electronics
         premiere: January 15, 1975 at Washington Square Church, NYC
         recorded in concert at University Art Museum, Berkeley, California, February 26, 1976
         recording engineer:  Pat Kelley
         originally released on LP "Voice is the Original Instrument", Wizard Records RVW-2266 (1976)

Twelvesong (Zwölfgesang)  (©1977)
         for multiple voices on multi-track tape
         commissioned by Radio Bremen
         premiered as a radiowork for RadioBremen, Germany, November 1977
         premiered as work for live voice and tape: May 6, 1978 at Pro Musica Nova Festival, Bremen, Germany
         originally released on LP "as lightning comes, in flashes", Wizard Records RVW2283 (1983)

"q-/-uatre petites bêtes" (©1978-79)
         a quadraphonic soundance
         commissioned by Annette Baack
         premiered as a performance work for voice and tape at Baack'scher Kunstraum, Köln, May 9, 1979 
         premiered as installation work at daadgalerie May 1979, Berlin
         originally released on LP "Reluctant Gypsy", Wizard Records RVW2279 (1979)

Cathing (©1977)
         for multiple voices on multi-track tape
         premiered February 17 & 18, 1978, at The Kitchen Center for Video and Music, New York City

Autumn Signal (©1978)
         for voice and Buchla synthesizer
         premiered October 22, 1978, Metamusik Festival, Berlin
         originally released on LP "Reluctant Gypsy", Wizard Records RVW2279, (1979)

October Music: Star Showers and Extraterrestrials (©1980) 
         for multiple voices on multi-track tape
         National Endowment for the Arts, Visual Arts Fellowship commission
         premiere: October 1980 at The American Center for Students and Artists, Paris, France

All selections composed and performed by Joan La Barbara (ASCAP), copyrights, as indicated on each selection.  All rights reserved.
Produced by Joan La Barbara and Michael Hoenig

Funding for this recording came from the Aaron Copland Fund for Music, the Foundation for Contemporary Performance Arts, and the Ann and Gordon Getty Foundation.

I am grateful to those who encouraged my early work and who made this cd possible:  Special thanks to Walter Bachauer, Michael Hoenig, Bradford Ellis, Joséphine Markovits, Hans Otte, Annette Baack, David Wessel, Teeny Duchamp, Hal Dalby. and Mimi Johnson.

LCD3003
7-4529-53003-2-8

http://www.tochnit-aleph.com/shop/index.php?productID=3936

12 07 2011
#2810

SUNN O))) Autumn tour EU 2011

SUNN O))) Autumn tour EU 2011

mon 26/09/2011 De Dresden Beatpol
tue 27/09/2011 De Karlsruhe Jubez
Wed 28/09/2011 Ch Fribourg Fri-son
Thu 29/09/2011 It Torino Carceri
Fri 30/09/2011 It Rome Circolo Degli Artisti
Sat 1/10/2011 It Bologna Tpo
Sun 2/10/2011 De Essen Denovali Swingfest

 

11 07 2011
#2809

Catherine Christer Hennix Concerts in Berlin

Broadcasting from The Cosmic Shruti Box:

The Chora(s)san Time-Court Mirage
Perform: "Blues Dhikr al-Salam (Blues al-Maqam)"
For: Voice, Brass, Computer and Live Electronics
In the mixed-media environment: NUR / SOLITON(E) STAR

The world premieres of the infinitary computer animation NUR and the 
accompanying infinitary computer sound composition SOLITON(E) STAR 
were given at Diapason Gallery, New York City for the celebration of 
La Monte Young‚s 70th birthday in 2005

Catherine Christer Hennix has now extended this installation in the 
venerable tradition of the pentatonic blues for a live-electronic 
ensemble:

Catherine Christer Hennix - voice, computer, sine waves and live 
electronics
Amelia Cuni - solo voice
Robin Hayward - microtonal tuba
Michael Northam - live electronics
Hilary Jeffery - trombone
Paul Schwingenschlögl - flugelhorn, trumpet
+
Multitasking team members: Werner Durand, Michael Northam and Stefan 
Tiedje

-----

ENSEMBLE ZWISCHENTOENE presents
"Das Dort im Hier" part 2
- CATHERINE CHRISTER HENNIX -
"RAAG IGNORANTI"
an interpretation of Solo 58 from John Cage's Songbooks

with:

Johnny Chang - violin
Agnieszka Dziubak - cello
Werner Durand - dj
Catherine Christer Hennix - live electronics
Simon Harris - computer software

DATE / TIME:

TUESDAY 19 JULY 2011 @ 19:00 and 20:30

-----
LOCATION:

GRIMM MUSEUM
Fichte Strasse 2
10967 BERLIN Kreuzberg

LIMITED SEATING!

please reserve via - konzerte@ensemble-zwischentoene.de

supported by: inm - Initiative Neue Musik Berlin e.V.
presented as part of the exhibition:
7 Homotopies (How One Becomes The Other)
Henry Flynt: Concept Art 50 Years Anniversary

WHISTLE, MINOTAURE! 08
curated by Francesco Cavaliere & Marcel Türkowsky
featuring works by Catherine Christer Hennix and Henry Flynt
15 JULY - 14 AUGUST 2011 @ GRIMM MUSEUM / BERLIN

DATES:

Saturday 16 July 2011 @ 6pm
Saturday 23 July 2011 @ 6pm
Sunday 31 July 2011 @ 4pm
Saturday 6 August 2011 @ 6pm
Sunday 14 August 2011 @ 4pm

LOCATION:

GRIMM MUSEUM
Fichte Strasse 2
10967 BERLIN Kreuzberg

Tickets: •20 / •12

LIMITED SEATING!

for booking and more information please contact:
centonze@grimmuseum.com
0049(0)15112412524

-----

supported by:

iaspis - konstnarsnamnden / sweden
inm - initiative neue musik / berlin
grimm museum / berlin

-----
LINKS:

http://www.grimmuseum.com
http://www.konstnarsnamnden.se/iaspis
http://www.inm-berlin.de/
http://www.ensemble-zwischentoene.de/
http://en.wikipedia.org/wiki/Catherine_Christer_Hennix

10 07 2011
#2808

RIP Travis Bean Aug. 21, 1947 - Jul. 10, 2011

from www.travisbeanguitars.com

"In 1996 I saw Steve Albini and Bob Weston playing guitars with Ts cut in the headstock. I was fixated on the look and on the sound. I've never seen Shellac prior, and I definitely haven't seen guitars like these before. Suddenly, my Les Paul looked inferior. Cruising around doing research on my Win95 computer, I started seeing mention of Travis Beans and Shellac. I confirmed that the guitars I saw... were Travis Beans. The quest begins.

In 1998 I saw that Travis Beans were coming out. Re-issues. Expensive. I was interested, but for some reason, I wanted the older ones.

In 2000 I purchased my first Bean. I still regard this Bean as the best Bean I've ever held. The best Bean I've ever seen. It's just a Standard, but there is something special about it. I remember buying it on eBay. Never held one prior. Never played one prior. Buyer's remorse was already setting in. I remember my wife calling me telling me the UPS dropped it off at the house. I left work to see this thing. My wife was standing next to me while I opened the guitar case. It was a very Raiders-of-the-Lost-Ark moment. I swear light came out of the case. I remember saying.. Hooooly Shiiiit. My wife looked at it and she was floored. I've never seen anything like it, and to see it in my hand was special. You can feel the craftsmanship. You can feel the durability.

In 2001 I started TravisBeanGuitars.com. It became a home for serials and photos; a place to see other Beans.

In 2008 Rick 'Obe' Oblinger passed away. He was a major piece of the Travis Bean puzzle and helped make those guitars what they are today, and I felt a piece of Bean history was lost. So I started a new quest; the quest to find the personal stories behind the guitars. The concept of the Travis Bean documentary was born and that journey began. That eventually led to Travis Bean himself. Many phone calls and hours of video were shot. A friendship developed. Travis and I stayed in touch regularly via phone. Conversations would go well beyond the Bean guitar and into normal life conversations. Goings on, family, his illness, etc. we talked about everything.

July, 10 2011 - Travis Bean sadly passed away this morning in Burbank, California. It's been a hard day for me and an especially hard day for his wife Rita and the Bean family. It's a huge loss in the guitar world, but that loss is nothing compared to what Travis offered as a friend and husband. He helped design a fantastic instrument, but I'll always think about our friendship. He was struggling for some time with cancer and kidney failure. Our thoughts go out to you, Rita and to your family.


Travis.. you will be greatly missed.

Rest In Peace 
Travis Bean
Aug. 21, 1947 - Jul. 10, 2011

More information about his illness, and if you would like to donate to help Rita, please visit http://helptravisbean.com

Today is a good day to play your Bean....

—Hank Donovan"

06 07 2011
#2804

Capturing the Witch 2011

The BURNING WITCH 4LP boxed set is finally in production after various delays for various reasons. 4LPs will be contained in a black slipcase (heavy printed and side loading black box), with a 42 page 30cm square perfect bound book of artwork and photos, and a few texts. 

Towers... & Rift.Canyon.Dreams LPs will have cloned covers (and identical track listing) from the original Slap-A-Ham & Merciless LPs, but printed as Stoughton tip-on style sleeves (and sans inserts). 

Towers... LP is cut from the original 1/2" master tape that somehow was missing in all the years between its recording and post 2008 Crippled Lucifer release. Stuart Dahlquist at last managed to unearth said tape a few years ago and the resulting test pressing of this record sounds absolutely incredible. I dont know if I've been involved in a recording before or since which gives me the tactile, tangible satisfaction of said album.

Rift.Canyon.Dreams LP benefits greatly from a remastering for vinyl by Mell Dettmer (who mastered all 4 LPs in fact) and a great cut. Clarity is much improved to these 4 abstruse tracks.

The third vinyl in the set is a 12" with Bleeder & Rift.Canyon.Dreams (2008 mix version) tracks. Fourth LP is an amazing sounding recording of the 1996 live concert at Pioneer Theatre in Seattle (with Greg Anderson also on guitar) with an insert of photos from said concert. That was pre-Towers.. 3rd and 4th vinyls are housed in direct to board sleeves by Stoughton.

We are pleased to announce that Alan Dubin is involved in the project, he is authoring a DVD which contains the 2 known video recordings of the band live: 1996 Pioneer Square Theatre (from original super 8 videotape) and 1997 on Public Access channel 29 "29 Live" (from original super VHS). This DVD will be inserted into a pocket in the perfect bound book. Here is a photo of the capturing process...

All in all this is the complete (and final) retrospective of material from this long defunct group who survived a near miraculous afterlife and memory amongst the faithful. We neglected to include the demo or any rehearsal material as it's not worthy... you can find this all online anyway. We attempt to present it all in its original intention, and the supplementary pieces, in my opinion as art director of the Witch's releases over the past 16 years, follow that original aesthetic closely. 

The boxed set will be manufactured in an edition of 1500 copies and available from Southern Lord Recordings this Autumn. 

And so, after these long roads, the nails are in the coffin.

—Stephen O'Malley, Paris, July 2011
06 07 2011
#2803

The Golden Toad: New Paintings by Madeline von Foerster

The Golden Toad:  New Paintings by Madeline von Foerster
Roq La Rue Gallery, Seattle
July 8 - Aug 6, 2011
Opening: Friday, July 8, 6 - 9 pm

previews

Roq La Rue Gallery
2312 2nd Avenue, Seattle, Washington
(206)374-8977
Hours: 1pm - 6pm: Wednesday - Saturday
www.roqlarue.com

www.madelinevonfoerster.com

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