The Vault (May - July, 2012)

Jacki Apple, Lynn Book, Paul Bright, M.W. Burns, Elena Harvey Collins, Michelle Fried, Kate Gilmore, Ben Kinsley, Philippe Landry, Jessica Langley, Lou Mallozzi, R. Eric McMaster, David Moss, Senga Nengudi, The Cake Dancers, Helen Thorington, David Webber, Michael Winter
May 11 - July 13, 2012

The Vault functions as a media flat file—a converted walk-in safe where audiences can experience a variety of video and audio art. Work will be added to the The Vault on a rolling basis, remain on view for approximately six months and then rotate out. Viewers have the remote control in their hands to select the work they would like to experience.

Currently in The Vault: Video

Elena Harvey Collins (Cleveland,OH)
When They're Gone, They're Gone - Driving Lesson, 2012
Elena Harvey Collins points to abandoned shopping plazas undergoing a slow and subtle transition from the tight control of commercial real estate to democratically produced public spaces that are used by people, cars, birds and plants.

Elena Harvey Collins (Cleveland, OH)
When They're Gone, They're Gone - Hawk, 2012
See above.

Michelle Fried (Pittsburgh, PA)
Stomach Trouble, 2008
Michelle Fried's "Stomach Trouble" is a hallucinatory narrative where the main character, Michelle, journeys through an unsanitary world of confused realities including her talking stomach and Dr. Wolmuth, a self-trained specialist.

Michelle Fried (Pittsburgh, PA)
Restaurant Fodder, 2010
In Michelle Fried's world of "Fodder," there are two types of beings: those who eat and those who are eaten. The Eaters plagued with ugliness, irritability and insatiable hunger constantly pursue the Eaten.

Kate Gilmore (New York, NY)
Standing Here, 2010
In a perception-shifting durational performance work, Kate Gilmore breaks into and then climbs out of a drywall shaft wearing high-heels and a polka dot dress.

Ben Kinsley and Jessica Langley (Pittsburgh, PA)
The CATopian Dream, 2012
SWAP artists Ben Kinsley & Jessica Langley conducted a series of interviews with cats as part of their Make CATopia Real project. The felines were questioned about their idea of utopia.

R. Eric McMaster (Richmond, VA)
Round, 2010
R. Eric McMaster is uses the structures of competitive sports, to feature people in situations of obedience, vulnerability, and eventual acceptance--draw attention to injustices both subtle and obvious.

Currently in The Vault: Audio

An Ear for Sounds is a collection of sound art for The Vault curated by Valerie Brodar. Works include:

Jacki Apple (Pasadena, CA)
You Don't Need a Weatherman, 1997
Jacki Apple's You Don't Need a Weatherman deals with environmental catastrophes and has approached this by reaching "into the distant past, and the unknown future, spanning geological time, while capturing the immediacy of the human present"

Jacki Apple
A Crack Across the Face of America, 1991
Jacki Apple's text/sound/music audio and radio works consist of layered intersecting textual and sonic narratives, and deals with memory, history, and the interface between nature and culture.

Jacki Apple
The Culture of Disappearance, 1991
See above.

Jacki Apple
Free Fire Zone 1980: Idaho (excerpt), 1980
See above.

Lynn Book (Winston-Salem, NC)
bird, 2003
An emergent composition derived from improvisatory explorations that converge extended voice and text with electronic looping and acoustic instrument to simultaneously conjure and denature the semiotics of bird. Lynn Book, voice with Kevin Norton, vibraphone.

Lynn Book
blink, 2003
Lynn Book's blink was developed from an "automatic writing" journal entry on September 10, 2001. The eerie prescience ricocheting in the writing was actually part rant, part rumination on the destructive impact of large scale social forces. Lynn Book, voice and electronics with Kevin Norton, drums and percussion.

Lynn Book
red ramble yodel, 2005
Lynn Book's red ramble yodel is a meditation on traditional yodeling--with layers, repetitions and building harmonies.

Paul Bright (Winston-Salem, NC)
Sound collage: discontinuities and connections of varying rhythm in diverse spaces; overlaid, staccato, resonant.

Paul Bright
Porto: Civitavecchia:, 2011
Sound collage: repetitions, dislocations, malfunctions, interrupted silences; travels through a mutable space-time.

Paul Bright
Voci I: Linea Gialla, 2009
Sound collage: admonitions, directions, truncated conversations, reverberations, a chance to win; quotidian poetry, intentional and otherwise.

M.W. Burns (Chicago, IL)
Observer collapses narrative style into an endless description of surveillance and voyeurism. This audio text attempts to create a kind of verbal vortex. This work was never installed, feeling quite at home over radio or the web.

M.W. Burns
Articulations explores how glitches, stumbles and slips of the tongue become a source of meaning, regardless.

M.W. Burns
Drift explores how glitches, stumbles and slips of the tongue become a source of meaning, regardless.

The Cake Dancers (Lafayette, LA)
Denikin Slurred Speech, 2011
An improvisation with a loop of Tchaikovsky, flipped, reversed, and inversed on upon itself. Anton Denikin was a White Russian general.

The Cake Dancers
Triadic Prelude, 2011
Composed of three loops taken from a recording of Wagner's prelude to Tristan & Isolde, it focuses on the classic rising and descending, tonal and dissonant chords. It is a juxtaposition of the three major articulations of the tonal/atonal chords.

Philippe Landry (Lafayette, LA)
The Original Jazz Loop, 2011
Various worn out loops, including Benny Goodman, moans, feedback tones, and Khmer Rouge soldiers confessing to acts of torture. It is an improvisational composition made of half random selections of tape, the reverse sides being unknown to me.

Lou Mallozzi (Chicago, IL)
Peers, 2010
The intersection of language, disembodiment, ephemerality, and hermeneutics crystallizes for Mallozzi in an art practice involving mediations of sound: He utilized sounds, many of which are recognizable replications or reiterations of previous sounds.

Lou Mallozzi
Screenplay: one and one, 2010
The intersection of language, disembodiment, ephemerality, and hermeneutics crystallizes for Mallozzi in an art practice involving mediations of sound: He utilized sounds, many of which are recognizable replications or reiterations of previous sounds.

David Moss (Berlin, Germany)
23 Ways to Remember Silence, But Only 1 Way to Break It, 2011
23 ways... is a recollected sound-history of Moss' world: a song anyone can sing; amateur singers on Karl-Marx Strasse; tortellini, mustard plants & galaxies; streams with boulders and watercress; a Russian rhumba, & don't forget the paradiddles.

David Moss, voice/text
Hanno Leichtmann, drums/electronics
Little Candy Story, 2010
Moss stated, "A tone or two, an insistent rhythm, backgrounds bubbling into aural focus-all tied together with an ancient personal story I didn't even know I knew until Hanno played this loop into my ears late one afternoon in his 3rd floor studio."

David Moss, voice, text, perc., electronics
Wittgenstein Sings, 2003
"A basic contradiction emerges: Wittgenstein singing? Meanings fragment and reassemble; words and music tumble, touch and transform into vapors. It's a process of chaotic incantation (see accompanying text)." - David Moss

Senga Nengudi (Colorado Springs, CO)
Conversations on Being: Jill, 1988
In the late 80s & early 90s, Nengudi created radio performance art in the form of interviews with friends on topics ranging from obsessions to utopian societies. In a tiny apartment brimming with books, the alternating smell of incenses and litter box in the air and little of the hot California sun filtering in, poet Jill shares her personal tale of obsession.*Explicit

Senga Nengudi
Doublethink Bulemia: Conversations on Being, 1989
Radio performance art in the form of interviews, in order of appearance: Sunra, George Mingo-vocal, Senga Nengudi Fittz-interviewer, Darryl Sevad-Dr.Fuki and high minister of Bulemia, Danny Davis-music (Sunra Arkestra member), and Kenneth Severin.

Helen Thorington (New York, NY)
09.11.01 | scapes_, 2003
Jo-Anne Green began scapes_ the day the World Trade Center was attacked and continued to add new pages in the aftermath. She used the only "medium" available to her at the time: Photoshop. Her "palette" consisted of NASA images of earth, and photographs of diatoms and Ground Zero. Each Scape consists of multiple layers: Thorington used the layers' titles, and the texts that accompanied the NASA images to weave her multilayered narrative for the Notes; and much as Green used found "pigments", Thorington used found sounds to create the rich soundscore for the series.

Helen Thorington
North Country, 1995
North Country is a hypertext story about an unidentified woman whose bones were found near a lake in North Country. With a sound score by the author with accordionist Guy Klucsevek.32:09

Helen Thorington
Aphids and Others, 1990
Helen Thorington's Aphids and Others is about the reproductive behavior of aphids, snails and octopi, composed in response to public radio's stance on what is and is not suitable for radio.

David Webber (Lafayette, LA)
As an artist, David Webber works primarily with time-based media and interactive installations. At the moment he is developing customized audiovisual performance instruments utilizing galvanic skin resistance and capacitance proximity sensors.

David Webber
See above.

David Webber
See above.

Hildegard Westerkamp (Burnaby, British Columbia)
Cricket Voice, 1987
A musical exploration of a cricket singing in the stillness of the "Zone of Silence" in Mexico. The percussive sounds were created by "playing" on various desert plants and by exploring the resonances in the ruins of an old water reservoir.

Hildegard Westerkamp
Gently Penetrating Beneath the Sounding Surfaces of Another Place, 1997
A sonic journey into the opposites in India of shimmering beauty and pollution grunge, of the extraordinary daily life intensity and the inner radiance, focus and stillness that emanate from deep within the culture and its people.

Hildegard Westerkamp
Talking Rain, 1997
Captured in the raincoast of British Columbia, Canada, Talking Rain refocuses the ear on the sonic formations of rain and the habitations on which it showers.

Gregory Whitehead
Lovely Ways to Burn, 1990
"Burned fever memories, for three fuguing voices and saxophone."

Gregory Whitehead
How to Pronounce "Prosthesis," 1991
"The destiny of a disembody, caged by a language lesson."

Gregory Whitehead
Twilight For Idols, 1989
"A requiem for shattered voices."

Michael Winter
Bottom Of The Ground
Michael Winter is a sound designer and musician living in New Orleans. He is a graduate of The Recording Workshop and has released two full-length albums available on the Magnanimous Records label.

Michael Winter
See above.

Artist Talk with Cannaday Chapman
View Calendar

08 Artist Talk with Cannaday...

16 Opening Reception