Table vs Chair

The Fight of the Century

Teshia Treuhaft is currently chained to her desk documenting the process of surviving senior year at A&D and her obsession with wood veneer.

        So the fact of the matter is that as artists and designers, exhibiting work is part of the game. The other fact of the matter is that as an undergraduate artist or designer it’s really hard to exhibit work because all of your time is dedicated to making the work. Showing it off is inconvenient while you’re in school. 

        Well, Ryan Herberholz (senior in A&D) decided to do something about that. After spending a few years hitting the ground looking for viable gallery space to use, he realized something had to be done about giving undergrads the opportunity to show work without needing to fill an entire gallery by themselves – something that most of us don’t have enough work to do yet.

        With that (and the thoughtful support of Rebekah Modrak) the new student group A.D.E.O. was born (Art and Design Exhibition Organization).

        A.D.E.O. works with the existing student government in the Art and Design School to give student curators space to propose their own exhibitions curate these shows and get first hand experience hanging them.

        Right now the fledgling group has taken over the Slusser Lounge to show student work and installations on a weekly rotating basis in the Egress 11 shows. This way students can have a quick turn around (and all the learning experience that goes along with that) without proposing a show months out.


        The current show was proposed by myself and fellow Furniture friend Dylan Box to throw down in true furniture style posing the age-old question, 

Table or Chair?

        I think it’s pretty clear that my allegiance will always be to Chair (The superior competitor…) but you should go see the show yourself. 


        Come check out the contenders, strap on your boxing gloves and place your bets for TABLE vs CHAIR. 

Note: No Chairs or Tables were harmed in the curation of this show.



Come Out. Show Work.

"My name is Teshia, I am a blogger and this is my art:"

Teshia Treuhaft is currently chained to her desk documenting the process of surviving senior year at A&D and her obsession with wood veneer.

So, if you haven’t heard about this project and youre in the UM Art & Design community, you really have to start talking to your friends (or make some new ones). 


A few weeks ago, Art & Design/Interarts Performance Student Anya Klapischak unveiled her project to the captive Penny Stamps Lecture Series audience. I have to admit I wasn't sold at first. As a first class cynic I didn’t understand the need, are we not creating a supportive enough creative community of students? Do we need presentation practice? What's going on here? 

Well as it were, I got sold.

It just took a little bit of doing and an extremely charismatic peer of mine, Anya herself to bring to light what her project is capturing about our community about young artists. 

I had a mini-interview with her to get a bit more of a scoop. If you guys would like the whole back story be sure to read about the project as a whole on but here are a few thoughts from the women herself who's bringing the current A&D student work together in a way I haven't seen in my long relationship with University of Michigan on December 15th at the Michigan Theater (Not too shabby, huh?) - plus, her fundraising efforts put some long running student groups to shame. 



How did the project start? Where did it originate?

My CFC II: Culture class has a very specific aim this semester: to examine, analyze, and understand the “Art School Culture” of the Art & Design School. After spending the first month of the semester conducting observational field research (ie: watching the Art & Design students when they didn’t know anyone was watching) we were given the assignment to now go ahead and affect the Art & Design culture.

I came out of the research phase completely struck by the level of work being done by the students of the school. It’s amazing and inspiring and provocative- and somehow under celebrated. I devised the UM Artists & Designers Coming Out Project as a vehicle to highlight not only the work we do individually, but the work being done by the little creative geniuses that sit next to us, that nap on the couches, that we see in the hallways everyday, that we proudly call our peers.

When did the project begin, how long will it be running? Do you have plans for continuation after December 15th?

The official launch was October 6th, and the project doesn’t end until after the exhibit on Thursday, December 15th. Or perhaps the project won’t end there- I am working on reformatting the project to become a continuing series, of at least one exhibit per month. Stay tuned.

What has been the most difficult part of the project?

This project is humbling because it’s something that is so much larger than I am. And while it’s a lot of work for myself alone to be a part of, it’s more work to get others to be a part of it. The project is meant to be a collective- but a collective is only functioning when several hands are working and a sea of minds are contributing. Getting those hands and minds is a 24 hour a day active effort.

How does this fit into your other work? Is this a new experiment?

While the UM Artists & Designers Coming Out Project is an entirely new project, it’s true to form of my past and current work. I’m a performance artist; I create happenings of heightened experience.

What is your background that makes you interested in this type of project?

I spent the first 17 years of my life in the world of professional ballet in Europe and New York. In America, I slowly segued into the world of professional theater. A brief stint in the Ivy League not only forced me back into art, but forced my two worlds to combine to form the one in which I currently and happily reside, performance art.

I get off on working with people. Making work that signs contracts of existing between several people, groups of people, millions of people, anything as long as it’s not just one person. I create work that exposes, highlights, and celebrates the experience of being in a room with another person.

Tell me the history of the jumpsuit. 

The long story is that it’s inspired by Tehching Hsieh’s one year performance, “Time Clock Piece,” in which the artists punched a time clock every hour on the hour for an entire year, taking a single photograph of himself with each time punch. I like the idea of a “worker’s uniform” and that putting on your “worker’s uniform” means that you’re going to or are working. But what I like more is the idea of always wearing your “worker’s uniform.” If I’m always wearing my “worker’s uniform” then am I always working? Am I therefore living in my work?

The short story is that wearing the uniform makes me the recognizable figurehead to whom donations can be made.

Show work, support work - I will be there with my handful of slides - will you be? 


Learning the art of the exhibit

How to hang ice, foxtail seeds and cell membranes

Kath Weider-Roos is the Creative Arts Producer at A&D. She snaps photos and asks questions.

Though their final show in April may seem a ways off, one group of I.P. Seniors have been nudged/cajoled/given-the-great-opportunity (circle one) to begin thinking about exhibiting now, in a mid-progress show currently up at Warren Robbins gallery.

A&D seniors have a whole year to conceive and develop a substantial body of work that gets unveiled at the end of the year in venues all around the city. For many students, thinking about how to exhibit their work is low on their list of priorities. They are too busy concentrating on (or fretting about) the making process.

So it was Reed Esslinger-Payet and Sarah Berkeley, two graduate students working as GSIs for I.P, who noticed an opening in the calendar of the graduate student gallery and claimed it for the seniors.  "We really thought it was important for the students to start thinking about the realities of putting up a show. And the only way to really learn about this is to do it," says Reed. She and Sarah organized the students into committees for publicity, curating and installation and from then on, it was up to the students to put up the show.

"We were mostly excited when we heard the news," says Meredith Hoffman who minors in biology. "There are a lot of technical issues you don't think about until you're in the gallery.  My canvas is so large it was hard to transport without ruining it. And just taking the work out of the studio and seeing it in a different context than my studio has been so important.  The light is different here and there is all this other work around it that changes its impact. " says Meredith.

Here is Meredith beside her large scale drawing of the intestinal villi:

Who knew your small intestine could be so beautiful?

Meredith is interested in how biological organisms are depicted in medical literature and is working on playing with and stretching the rules and conventions of this particular visual language. In this series below, she made a rubber stamp and used various inking techniques to explore representations of the cell membrane.

Saree Silverman, below, is working on a series of sculptural shapes made out of foxtail seeds. 

Foxtail seeds?  Saree explains, "I started out the semester taking long walks in the woods and doing a lot of thinking about what was important to me. When I returned I would always have these seeds stuck to me. I suddenly became really interested in the seeds as a material and as metaphor." 

The first sculpture she tried to hang soon ripped apart. It turns out it's not so easy to hang delicate seed constructions. Now Saree is experimenting with which shapes will hold, whether they should be hung on the wall or against a window.

Saree's other explorations are in paper clay, a clay mixed with cellulose that allows you to make very precise thin replicas of ginko leaves. She loves ginko trees and is fascinated by their history. "They are the oldest living tree today. I found out that when Hiroshima was bombed, six of these ginko trees were left standing. They're very hardy. I'm exploring the relationship between fragility and resilence."

Saree made each of these clay leaves from a unique ginko leaf that she collected in the fall but she still hasn't figured out how to display them or even whether they will be part of her final project. "I'm just experimenting right now but this is the kind of problem-solving that you have to do by just trying it out," she says.

For Caroline Aulis, who would like to develop an installation where time appears to slow down, how her materials will behave in the gallery is the big unknown. Caroline has spent a lot of time conceptually mapping out her thesis and making sketches but this show is forcing her to really test out her ideas.

"I'd really like to challenge the movement and flow of liquid materials, so my idea is to hang frozen water sculptures and see if I can replicate this feeling of suspension or suspended time."

Caroline is basing her project on an Italian phrase, "dolce far niente", which means "the sweetness of doing nothing, or delicious idleness", a phrase she learned during her semester abroad in Italy. "I was so struck by the relaxed pace of life there. In Italy there's no such thing as a "coffee to go". And then I came back here and everything was so fast and hectic. So I'm interested in slowing us down – to suspend a moment in time."

Below are the ice balls she made by freezing water balloons in the snow. She hangs the shapes with fishing line. "It makes me nervous to do this and put it out there without having everything worked out, but I have to start somewhere!" she admits.


It turns out the ice balls took less then three hours to melt completely under the hot gallery lights. Besides moving her installation to the arctic, she is now on the hunt for other possible materials that will achieve her desired effect.

If you have any ideas let her know!

Come by for the exhibition's closing reception on Wednesday, January 25th in the Warren Robbins gallery to see this and other works in progress by the 20 some students in the show.




Adaptive Art at the Duderstadt

Art & Design and Engineering Students team up to create art with interactions

Andre Grewe makes websites for the School of Art & Design.

Opening this afternoon at the Duderstadt Gallery, the /bin/art exhibition showcases student projects developed in Adaptive Art: an interdisciplinary class offered by the School of Art & Design and the College of Engineering.

Co-taught by Satinder Baveja (Computer Science & Engineering), director of the University of Michigan's AI laboratory with expertise in machine learning, and Osman Khan (School of Art & Design), an artist who uses technology to create interactive installations, Adaptive Art focused on using computation, algorithms and machine learning as mediums for aesthetic expressions.  In this class, computers aren't something that you do your work on - instead, they're a vital part of the finished work, and might even have created it on their own.

Working in teams that mixed Engineering and Art & Design students, the class used Arduino microcontrollers and Processing, an open source programming language, to create a wide variety of works that interface with people, whether in the same room or on another continent.

I stopped by while the show was being set up and had the chance to get a preview of some of the installations:

The Beckoner
Picture this: You're rushing through the Duderstadt on your way to class. As you hurry past the gallery, you're startled by a sudden tapping sound. As you turn toward the source of the tapping, you realize it's being made by an articulated wooden hand - and now it's beckoning, drawing you closer... This isn't the start of a horror story, but an interactive installation: The Beckoner is a wooden hand mannequin that's controlled by software programmed to recognize human figures and faces - when its camera senses a human-sized shape walking by, it taps. If that shape stops and appears to be looking toward the camera, it beckons them in. "The Beckoner is study into the dynamics of human-computer interaction in a public space – can a wooden hand really engage the attention of the busy students and faculty walking by the gallery?"


Rehaiku plays with conventions, filtering messages about disposable pop culture relayed on a very modern form of communication through a centuries-old formal Japanese structure. The software retrieves tweets from Twitter in real-time, and uses machine learning techniques to combine pieces of these different tweets into correctly formed haiku, creating perfectly formed groupings of 5, then 7, then 5 syllables about Kanye, Justin Bieber and more. The program then sends its creations back out into the world, tweeting them based on crowd response at:

In today's world of TSA body scanners and cameras at every store entrance and traffic light, it's hard to know when you're being watched. Monitor plays into this modern paranoia: As a viewer steps into the installation, he's surrounded by 3 pillars, each topped with a TV monitor. The center TV displays a security camera feed of the subject, and the other two display closeup footage of human eyes. As the subject turns toward any of the monitors, facial recognition software notices - and switches that monitor to static. The result? "The subject will only be able to see video in his periphery, adding to the sensation that he is being watched. The room reacts to the subjects actions in a way that is meant to maintain his ignorance of the content being displayed. "


Pouring Sound
This installation takes a new approach to the traditional sampler, "focusing on transforming how we treat audio and sound, from being audible and intangible, and translating it into a physical object that can be moved, contained, and mixed together." Users can speak into the red/blue pitcher, then play back the sound by pouring it into the green/yellow one. Sound can be sloshed back and forth between the vessels to mix, and dumped on the floor to erase.


Other projects featured in the show include:

  • Audio Wall: a Microsoft Kinect powered interactive space that allows the user to produce and play with music using only their body
  • Digital Genesis: viewers are invited to place and move physical blocks onto the digital environment, which provide light and water sources, nests and environmental effects
  • Hands Free Super Three: presenting three classic video games played hands free (sans controller)!
  • Inside Out: a garment that displays its wearer's heartbeat
  • Music Sequencer: a self-contained, 8-bit, Arduino-powered music sequencer. Sounds are selected and sequenced using an array of buttons on the main panel.

Read more about all of the projects at the Adaptive Art blog.

To get the full impact of these interactive installations, you should really see them in person, but there's a limited time to check them out: /bin/art opens with a reception at the Duderstadt Gallery from 4 - 6 pm on Thursday, December 16 and closes on Friday, December 17th.


Sonic Acts 2010 Wrap-Up

John Kannenberg is a first year MFA candidate in the School of Art and Design.

The Game of Life Foundation's Wave Field Synthesis system, a 192-speaker surround sound system.

The last half of the Sonic Acts 2010 conference was just as jam-packed as the first. The third day focused primarily on field recording and music, beginning with one of the figureheads of contemporary R. Murray Schaeffer-influenced recording practice, Barry Truax, lecturing about his own work composing music with environmental sounds. I was particularly interested in his discussions of convolution and its application to the manipulation of the acoustic space of field recordings.

A presentation by Hildegard Westerkamp followed, discussing her long-standing interest in leading soundwalks. Some technical difficulties (see the above video), while unfortunate, actually enhanced the drama of her presentation, an interesting blend of lecture, listening exercises and recitations of quotes about the practice of soundwalks, spoken by people sitting amongst the audience and challenging those present to shift their listening attention to different acoustic spaces.

The interview with Annea Lockwood that followed focused on her return to the sonic spaces of rivers with her new project, A Sound Map of the Danube. Existing as both a stereo album recording and a 2.5 hour long 5.1 surround sound installation, Lockwood's new piece sees her exploring the sonic landscape surrounding the Danube River, her intention being to transport the listener to a specific place through sound. Lockwood initially made her reputation as a composer with a similar piece, A Sound Map of the Hudson River, another piece exploring the sonic mapping of a particular place.

Steven Connor reading "Secession"

The day ended with a panel entitled The Hot Space in Music, revisiting the artists who presented at STEIM a couple of days before but with one notable exception: the panel began with Steven Connor reading his essay Secession, a piece about sound, space, and his own struggles with the auditory affliction tinnitus. One of the highlights of the entire conference for me, his talk was incredibly inspiring in its heartfelt analysis of sound's relationship with space and how a phenomenon like tinnitus can make us question our notions of space.

The final day's presentations consisted of the keynote speech Representation of Space in the Brain by Michael J. Morgan was just as insightful about the way the mind perceives space as it was about how the current trend of 3-D movie technology will ultimately fail just like its predecessors. And the final panel I attended, Spatial Perception featured three very exciting sound installation artists: HC Gilje, Jan-Peter E.R. Sonntag and Jakob Kirkegaard, who discussed their various uses of video and sound in space.

The concerts and film screenings the last two days were equally impressive. Jakob Kirkegaard's Sabulation (see above video) was shown amidst surround pieces by Barry truax, Hildegard Westerkamp and Annea Lockwood.

The Game of Life Foundation held a series of recitals of music composed for their Wave Field Synthesis system, a surround sound system consisting of 192 speakers and eight subwoofers.

The grand finale of the entire conference took place at the Artis Planetarium in the Amsterdam Zoo, where a series of sound performances were accompanied by laser lights (in sets by TeZ and Francisco Lopez) and video, as in the piece pictured above by Paul Prudence, whose video covered the entire planetarium dome and had the audience gasping. A fitting end to a conference about sound art: art that made its audience make sound in response.


yo, show mo

get it up and out

Stephen Schudlich is the Director of Exhibitions for Work • Detroit, A&D's exhibition space in the 313.

Maximillan Kolbe and St. Benedict  exhibiting at Idols and Icons @ Madonna University

Snots   exhibiting at Silver Medal Exhibition @ The Scarab Club

lookee here. i don't just lay in bed and think about how to hang (and keep) other people's stuff up in the gallery. i make stuff myself.  lots of it. and i love to see it up on the wall. mr. steve has a big fat ego you see. above are a couple things in exhibits right this very second. saints on bedazzled catholic school desktops and soon to be released Motor City Panhandler AllStar cards. i encourage folks to exhibit and i am throwing a couple links up here so that you all can look into getting on some call lists for places here in the "D". and don't forget ours!

Scarab Club



Sonic Acts 2010: The Poetics of Space - Sound Art in Amsterdam Day 2

Amsterdam sound art conference continued

John Kannenberg is a first year MFA candidate in the School of Art and Design.

Day 2 of Sonic Acts 2010: The Poetics of Space started off with the beginning of the conference proper, meeting up at the massive Café De Balie in the Leidseplein entertainment district of Amsterdam. De Balie seemed enormous, with its multiple rooms of café seating, a full bar, ticket office and two theater spaces on the ground floor alone; that was until the crowd for Sonic Acts decided to show up.

There were so many people, the atrium and café were shoulder-to-shoulder by 9:45am, fifteen minutes before the conference was scheduled to begin. Luckily I'd pre-ordered a festival and concert pass before I arrived, so I was one of the lucky ticket holders who had priority to sit in the theater where the conference was actually taking place; dozens of other people weren't so lucky, and were banished to the secondary theater to watch what was happening in the theater across the hall on a live internet stream. Keep in mind, this was an academic conference on sound art...I can't reiterate enough, the interest in sound art I witnessed in Amsterdam was truly unprecedented. I've never felt hipper wearing glasses, being bald, and carrying around a Zoom H2 than I did for those four days in Amsterdam. wink

The keynote speaker was Derrick de Kerckhove, a collaborator of Marshall McLuhan's who spoke about the 21st century's move past traditional renaissance perspectival representation into a post-visual, tactile perspectival realm dominated by the advent of electricity, with the "point of being" replacing the "point of view" as the commonly accepted referent to one's position in space.

Daniel Terrugi, Director of the Groupe de Recherches Musicales, and Raviv Ganchrow, a sonology expert and installation artist, comprised the speakers for the second session, Architectures of Sound. Terrugi discussed the positioning of sound sources in space (ie surround sound systems) and their impact on contemporary musical composition, while Ganchrow discussed his work with wave field synthesis in order to redefine acoustic spaces. Ganchrow's wave field synthesis system, a 192-channel surround sound system, was on the schedule to appear at the concerts in the Paradiso club the night after his speech, something I was really looking forward to experiencing.

Christopher Salter was the highlight of the Exercises in Immersion panel. His lecture, "The Question of Thresholds: Immersion, Absorption and Dissolution in Cross-modal Environments" was fascinating, covering James Turell and Robert Irwin's 1968 of the effects on consciousness of extreme sensory input reduction -- basically an analysis of the effects of minimalist art on the audience's consciousness. I was really interested in his discussion of enactive cognition (how our environment arises out of the loop between action and perception) and enactive perception (how perception is achieved because of our bodies' sensorimotor system, and all perception equals action). Salter's new book, Entangled: Technology and the Transformation of Performance is definitely on my to read list.

A panel on Utopian Spectacles was up next, with Branden W. Joseph (author of Beyond the Dream Syndicate: Tony Conrad and the Arts after Cage) and Trace Reddell (Director of Digital Media Studies at the University of Denver) gave presentations about John Cage and Lejaren Hiller's HPSCHD and the Vortex concerts of Henry Jacobs and Jordan Belson. Renowned theater artist Robert Whitman was up next, discussing his use of space in non-traditional theatrical venues (see the above video), as well as debunking some myths about the legendary 1966 performance event Nine Evenings: Theatre & Engineering he participated in along with John Cage, Robert Rauschenberg, David Tudor, Yvonne Rainer, and Deborah Hay among others.

The final panel of the day, The Poetics of Hybrid Space, featured Eric Kluitenberg (head of the media program at De Balie, the conference's venue; Duncan Speakman, a locative media artist who premiered a new guided soundwalk which took place immediately after the panel; Peter Westenberg, a visual artist who specializes in open source practices; Elizabeth Sikiaridi, a professor of urban landscape design at the University of Duisberg-Essen who spoke about the breakdown of Cartesian space as the ruling system of perspective and its replacement by the speed of electricity's power to control the rate at which we experience space; and Karen Lancel and Hermen Maat, Dutch artists who presented their wearable art project Tele_Trust via webcam from Vancouver. But that's not all...there were five more hours of concerts to go to.

The theme of the second night of performances was Expanded Space, and the bill focused heavily on experimental cinema. Laszlo Moholy-Nagy's only abstract film, Lichtspiel Schwarz-Weiß-Grau from 1930 was up first. Projected on film rather than video, this was as close as we were going to get to experiencing the piece as it was originally presented; not to mention that beginning a five hour stretch of concerts with a six minute silent film from 1930 was a bold move, and the audience continued to amaze me by attentively (and silently) watching while crushed shoulder to shoulder in a standing-room-only crowd.

Gill Eatherley's three channel film Hand Grenade (featuring a soundtrack by legendary Krautrock band Neu!) was a definite highlight. Again projected on film, this abstract work was made in 1971 with a series of still images of light drawings which were extended, looped and altered via painstaking optical printing.

A performance entitled (SHIFT) by Dutch duo Optical Machines featured live sound and mesmerizing video generated via a series of mechanical devices and metal plates being filmed and processed in real time.

My favorite film of the evening was "Spacy" (1981) by Takashi Ito. I was amazed by its multiple layers of space folding in upon themselves...I'd love to pick up a copy of this compilation DVD of Ito's works. There was so much amazing work shown that night, it's impossible to write about it all by Paul Sharits, Bruce McClure, Greg Pope & Gert-Jan Prins and many others were all so inspiring...another day of information overload! And Sonic Acts 2010 was only half over...


Sonic Acts 2010: The Poetics of Space - Sound Art in Amsterdam

Sound art conference in Amsterdam

John Kannenberg is a first year MFA candidate in the School of Art and Design.

Last week I travelled to Amsterdam for a four day conference on sound art, Sonic Acts XIII: The Poetics of Space, a densely-packed series of lectures, exhibitions and performances dedicated to 21st century notions of sound's relationship to space, using Gaston Bachelard's 1958 philosophical text on the architecture of the imagination, in which he phenomenologically analyzed poetic notions of space and place. The conference was a four day crash-course in contemporary sound art theory and practice, and one of the most exciting and inspirational art events I've ever attended!

The first day of the event began with a mini-conference and exhibition at STEIM, one of the world's premier studio/research facilities dedicated to electronic performance arts. Talks were given by artists-in-residence Hans W. Koch, whose "Two Rooms, Flipped" installation connected two of STEIM's studio rooms with sonically mirrored microphones which broadcast inverted pitches of sounds from one room to the other, and Yutaka Makino, whose "Conflux" installation of chemical fog and wave field synthesis created a simulated whiteout condition.

After the artists presented, a panel discussion of alternative venue curators discussed current trends in artistic curation and distribution. Daniele Balit of Birdcage discussed his inspirations for creating a "gallery without walls" dedicated to showing challenging works of art whose exhibition spaces are a part of the actual artwork, a concept influenced by works like Brian O'Doherty's "Inside the White Cube". Hamish and Keiko, the founders and curators of London's newest venue dedicated to experimental music Café Oto, discussed the joys and difficulties of running a world class music venue and café on a shoestring budget seven days a week for the past two years. Finally, Rotterdam-based collective WORM presented highlights from their activities of supporting and showcasing experimental art and music both online and in physical venues during their decade plus of existence.

From STEIM the activities moved to NIMk, the Netherlands Media Art Institute, which housed a group exhibition including Jakob Kirkegaard's Labyrinthitis installation (which broadcasts two tones into the spectator's ears, creating a third tone only audible inside the ears of the listener, as well as HC Gilje's "Blink", a video installation using the gallery space's architecture to generate colored patterns projected back into the space. This show was the lead-in to the actual opening of the Sonic Acts festival, US artist and sound art theorist Brandon LaBelle's "Q+A", a multichannel sound performance presenting the artist interviewing himself in surround sound. As you can (sort of) see from the video I shot from all the way in the back of the performance space, LaBelle's reputation in Europe drew a rock star-sized crowd -- not exactly what i was expecting, considering the comparatively dismal attendance at nearly every sound art event I've attended in the US (with the exception of Long Beach's excellent Soundwalk annual festival).

The next venue of the day was Paradiso, a gorgeous music club created from the remnants of an abandoned church in Amsterdam's Leidseplein entertainment district, where the first of three nights' worth of five hour long sessions of performances and film screenings began with seminal UK improviser Keith Rowe joined by the Nordic saxophone improv duo Streifenjunko and video artist Kjell Bjørgeengen for a beautiful set of quiet improvised sound translated into flickering analog television static.

Haswell and Hecker followed with a viscerally intense sound and laser light performance that filled the Paradiso with touchable light and sound so thick you could cut it with a bread knife.

Robert Henke, aka Monolake, ended the night with a live surround sound performance of thick dub-inspired electronica, perfectly synched to Jitter visuals by the Netherlands' Tarik Barri. As composer and Cycling '74 employee Gregory Taylor said at the show, "Tarik's Jitter work looks like no one else's", and he wasn't kidding.

Such an insane amount of information to process, and this was only day one! I'll be posting summaries of the rest of the conference soon, so stay tuned...



Disillusion reviewed by the Ann Arbor News

Ashley is a 22-year-old A&D alum who is drawing her way through a post-grad life.

The headlines are correct: Disillusion, the show I curated, has received a review from John Cantú of the Ann Arbor News! In the words of Disillusion's Ben Bertin it's "glowing," so much that I'll forgive Mr. Cantú for referring to the show as "Dis Illusion."


NOBODY FREAK OUT by Tom Buckholz


i’d rather be a hammer than a single hole floreat

pound it.

Stephen Schudlich is the Director of Exhibitions for Work • Detroit, A&D's exhibition space in the 313.


hi. i'm busy. really really busy. coordinating MFA exhibit for John Walters at work•detroit, getting ready to be one pair of several hands on deck as we move into IP extravaganza and trying to keep the energy high in the intersections spaces. AND i myself, am also in a period of "making" for several upcoming exhibits as well as plotting work•detroit's summer offerings which, though less formal, are no less engaging.

Watch for call for MONSTERS later this spring. we like to open a show up in the summer to everybody and anybody. kind of a tradition. My five year old has already completed several zombies and spider which when presented in just the right baroque frame will be "awesome." but first, i am looking forward to working with plenty o' awesome work from our A & D  makers. Bring it on. we got plenty of nails.