Exhibition Dates

Hello Monte Carlo,

The exhibition dates are as follows:

Opening Thursday May 24 - Saturday May 26. This is memorial day weekend so we can all decide on which night we would like to have the opening.

Installation will be the week leading up to the opening, May 19 - 26.

The show will be up through mid July.

Happy New Years!

This is a collaborative piece between Jasmina Llobet & Luis Fernández Pons. I thought the combination of googly eyes and wallpaper/wrapping paper was especially relavent.
http://www.llobet-pons.net/llobet-pons3/2007/40-tamboret/tamboret.html

Groundlessness

Some of the ideas/inspirations I have been trying to make work around...

Free fall and Nose Dives

B A S E Jumping
(Building - Antennae - Spans - Earth)

Momentary loss of stability when I am above the cloud line.

Art Display Apparatus (ie the backs of frame)

Object Placement & Interior Design

Weather and Atmospheric Phenomena

Duchamp's explanation of inframince/infrathin

Gallery Floor Plan

Duke Riley

Hey guys, so I read an interview of this artist and then I looked at his work on his website and I think he is someone who's body of work can be related to by all of us. He sort of likes to re create history but is very active in manifesting his own type of cultural landscape- which is something I think we can hone in around for the show. Like he made his own boat and sailed around the east river of NYC and titled some work, "the united islands of the east river." So I just think he's great and rebellious and romantic, and I think these are kind of some themes I would like to explore. Wild west mothah fuckas!

I COMMAND THE THREE OF YOU TO ENTER THIS FUCKING CONTEST

click here

a history (unfinished)

MONTECARLO

Beginning with a moment/experience of documented awareness, to a current status, and to a continuing future; a history, a future, a manifesto.

By Park C. Myers, self appointed Diagrammatic Director of MONTECARLO

montecarlo:

1. Vanessa Goggletino

2. Siobhan Feehan

3. Kathryn Learson

4. Park C. Myers

Initiation:

When the encounters of all 4 (that is now montecarlo) consisted of the numerous interactions between each other, (1 + 3, 1 + 2, 2 + 1 +3, and continuing to 4, et al) the possibility and the unknown potential of montecarlo was present. It was at this plaza, a nacient and initial extended moment, figure 1, that there was a mutual understanding between all involved that montecarlo was formed.

figure 1

The fractured, momentarily cohesive, sometimes peripheral but always present group of individuals then set off to become a substantial and multi-institutional force that has and will continue to defy know arenas of experience.

Current representations:

montecarlo as in of nodes¹ is of four and always one. Geometrically montecarlo can be represented by this static polygon, figure 2. While this polygon is drawn from montecarlo’s current (9.12.2011) geographic location(s) it also represents a single node which can be used in intellectual arenas in which montecarlo needs to be represented as a single node.

2a 2b

(Note that the simplicity of this object is not always static and when seen in higher dimensions can take on dynamic and non-visible representations’ necessary to communicating a “history” , “future” , or “manifesto”.

1. node: A point at which lines or pathways intersect or branch; a central or connecting point

montecarlo as a collective energy, comprised of individual energies:

1. Emotion, base, maternal, observant, tactile, physical, homeward

2. Power, celestial-adventurer, light, siren, executer with ease, opposite of disparate

3. Potential, fuel, original driver and pilot, independent without exclusivity, humorous

4. Concept-rigid, fabricated-wealth, research, man, stylized, romantic, anxious, reckless

CURRENTLY FINISHING, LOVE PARK

timelines

Park and I spoke and decided it would be a good brainstorming exercise if everyone chronicled some memories of monte carlo. Below is my timeline:

September 2005
I was sitting with Drew Clark in the commons on the grass. I didn't know you yet and I heard Drew say, "What is Park doing?" with a little laugh. I looked up and you were casually walking around on the second story in nothing but your crisp white boxer shorts. It was like the world was your living room.

I walked up the stairs and saw your dreadlocks and you were so small and had huge earrings in, and I thought, "oh great, she's a pothead." And then later we passed around your sketchbook and it was so beautiful and I was jealous. And then finally we became friends, probably around the second handle of bacardi.

You had really curly blonde hair and it was really bouncy or maybe you were really bouncy. You circled closer into my periphery because Drew Clark had a crush on you. I was standing with the two of you at a party and you kept banging the back of your hand against the wall saying, "I can't feel anything, see? I feel nothing!"

kentucky
Siobhan was the last one to put her stuff in the car but the Monte Carlo was already filled with things like sparklers and the fog machine. She pulled out the handle of fog juice and was like, "really?"

water with nice white stick
It must have been April and we really needed to go to nature. So we went to a small reserve by a body of water. Park had a funny camera- I think it recorded to VHS. There were all of these really interesting pieces of wood. Park picked one up and said to himself, "This is such a nice smooth stick." I think you put that one on a chain.

wrestling
I think we had graduated or were just about to graduate and we climbed into the wrestling gym that Pete had made. I started stamping the mat really fast and you called me "The Shake." We called Siobhan Joan of Arc, and Park was "The CATCH." Then we went to our apartment and sat in the bathtub.

duck neck
This was the time we decided to go camping in a trailer park! We ate pot brownies and sat in a cabbage patch.

the beach
The last time we were all together was in this place. We boiled lobsters and steamed mussels and we all wore black bathing suits.

HELLO MONTE CARLO!

I am sorry to have been out of touch for a while, I can safely say this has been one of the busiest summers of my life. More on that later

Give me the business:
Our show is slated for the early spring of 2012. Though it may come sooner, I would like to have it during a time where there will be plenty of exposure. I will know by the end of September.

In reference to GAME FACE thoughts...
1. I have also been interested in the use of 'collaging' documents/data/media (in a somewhat serial format) that map/document a specific space through the use of 'non-visual data'. I have been referring to it as information cartography:

In a way it tells a story as well, a narrative of information. With respect to that I think it is a splendid idea to begin passing around images (hard copy to begin with to keep us grounded). I will need everyone's address asap.

2. I will send the schematics of the gallery space as soon I get them in about a week and a half. Things to consider:
-The gallery is in a historic train depot, built in 1908
-Becuase of this the walls are not in a general white cube, they have alcoves and more prominent walls.
-In the center of the gallery there is an option to move four walls they jut out from a central column. This will all make sense when I send photos and schematics.

3-4. I think it is necessary to start producing some collaborative matter, whether or not it ends up in the show. I will post more current work and some more ideas I have been playing around with.

Finally I want everyone to remember that while the sky is the limit pretty soon we must come up with a cohesive projection/direction ( I think we are close).

love,
Park

Sio this reminds me of your yearbook

split family faces

http://www.ismercuryinretrograde.com/

How to:

4th of July!

State of the Union

Game time Game Face

Dear Monte Carlo,

This past weekend 75% of our little collective was fortunate enough to convene for several hours on a lovely Sunday afternoon. We ate shrimps, drank rose, and talked about art. Below is a re-cap of how we see the show coming together over our distances from one another:

1. Looking at the collages that Vanessa and Sio have been making, it is easy to see where their minds easily converge. I think that it would be a healthy exercise to begin passing around images to one another to make pairs or families of. Kind of make a game of it. As the images are filtered through each of us, a broader picture will come together of how we may curate these images in a way that the viewer can follow our odd logic. This idea gave me the idea to form some sort of loose narrative..

2. I'm not saying like a narrative from a movie, but I think it is helpful to think of the show as having a beginning middle and end. A place to build, a place to have a climax, and a place to end. However, not sure what the space looks like, or if we could have moveable walls, or whatever, so this might not be particularly feasible.

3. Back to #1. As I mentioned, since we are far apart, fabricating games that enable us to bounce ideas off of each other seems to be the agreed upon way to begin our collaboration. Since all of our work is so different, we think that every piece should be collaborative in some way. So in addition to playing picture association games, we can also play word games, because I would really love to have some beautiful vinyl text on the walls.
*At a local festival they had this amazing piece that was a vinyl lettered timeline in list form. It was made to look very weathered and old- and at first I thought it was- and next to every span of years was a beautiful statement. I will try to find a picture of this.

4. Collaboration ideas are as follows:
a. Credits, hallway of projected credits with insightful language in lieu of names
b. wall of collage/ picture associations
c. videos of people orating their wills
d. Unicorn roadkill

5. The unicorn roadkill was an idea that sio had while in school. We were thinking that when it comes time to travel to CO, we will drive out together with the fallen unicorn and document it as we journey across america, to eventually have it in the show.

So Park, since we haven't heard from ya, let us know if we are thinking along the same lines or if we are totally off base from you, or any ideas that you have cooped up in that little head of yours!

Love,

Kate

May 2011

HEY... WHERE'S PARK?

Name Ideas for Credits

1. Bunny and Anotinette
2. Recha Bullock
3. Randy Honeycutt
4. Chet Helck
5. Lydia Voles
6. Herb Gillette
7. Earl Virgin
8. Danny Almond
9. Dusty Rothrock
10. Mahogany hopkins
11. Ed Gloria

I was reading How to Wrap Five Eggs which inspired me to make some custom wrapping paper.

One is with illustrations of Houdini, the other is pieces of a jungle and the queen mum trying to stop her skirt from blowing up (a la Marilyn Monroe).

Springtime Mixes

March:
http://www.sendspace.com/file/rclglj
April:
http://www.sendspace.com/file/rqwmb5

http://jessemclean.com/biblio/heaven-and-earth-and-television-magic-the-cinema-of-jesse-mclean/

I like this and need to think about it..

http://pleaseenjoy.com/project.php?cat=1&subcat=&pid=75&navpoint=4

No,no,no. Not like a real dream...but a vision.

Dear Monte Carlo,

Today I sold my very first piece of art: the bats that are here on this very blog! I sold them! And I am so happy but also kind of sad because I love those bats. And I love you too. God Bless Monte Carlo.

preview

WAIT FOR IT... WHERE IS VANESSA

So I will be in the studio documenting my recent work for the month of April, so be ready.

Fiction-
INCENDIARY: a Steamboat Springs Arts Council Fundraiser Gala commemorating the historically rich exhibition, Monte Carlo, l'histoire (to include fireworks)

Where is Vanessa?
Vaya con dios

These are the eighth graders cut in half and collaged on top of each other to make about 35 two faces. The text is from Frederich Nietzsche "Birth of Tragedy." I don't know if you've ever read this book but its a very dense, straight forward text on differences between Apollonian and Dionysian ways of thought i.e. art and music. He also makes the argument that real tragedy- Greek tragedy has died.
I chose the text for these collages because of the proliferation of the "tragic teenager" in contemporary narratives. These petty tropes may be the few outlets for tragic, combustible characters. They also have that revealing quality, their unrelenting self doubt allows them to be perfect mediums for really fatal dialogues like the quote from Silenus.



These are the Seniors with masquerade faces. The Quote is from Prometheus of Aeschylus, taken from the same book. I liked this quote because the sense of self important aloofness might actually mimic the same naivete tragic teens portray, but it's actually about Prometheus.

I did this collage a while back, when I first moved to New Orleans, I just added the starry background recently. I think I was coming from a place that was trying to figure out this city, why it's fusion with the past stopped it from catching up with the future. I had all these cut outs from old books and tried to make a space ship with them, the idea made a Brazil like fantasy.
Of course you could never use ancient building parts for space exploration, but with the way people fester and use nostalgia like a noose, someday someone might try.

Trickle Down

This is another small illustration/collaged project I've been working on with antique photos. At first I wanted them to be a sort of family tree, but it became just a fun exercise because I found it so difficult to harm the last images of these complete strangers.

Commemoration of Wildlife

CABINETLANDIA - MORE ON WHY THIS IS RELEVANT SOON PLEASE READ!

The construction of the Cabinet National Library in 2004 was the formative project for Rebar, our San Francisco-based art and design studio. Then, as now, we were self-styled idealistic conceptualists—foolhardy speculators, installation tricksters, land art humorists, remixers and remakers of the everyday landscape. Our ongoing exploration of fragmented landscapes, ambiguously defined sites, liminal territories, niche spaces, loopholes in the code, and eddies in the flow of regulation—an exploration that forms Rebar’s principal conceptual program—began in the desolation of Cabinetlandia, a few miles outside Deming, New Mexico.

Yet—as is the case with many outlandish dreams made manifest—the years had not been altogether charitable to the Cabinet National Library. As periodically reported in the pages of this magazine, the desert itself intervened in our intervention. After five years of steady environmental critique from the wind and weather—not to mention visits from creatures hailing from several phyla, the occasional vandal, an intermittent thief, and a valiant (but failed) attempt at a coup d’état—the Library had been reduced to ruins. The bottom drawer of the cabinet (originally the snack bar) was partially caked in mud and stuck shut. The Library’s collection had dwindled to a single copy of Cabinet no. 22 (“Insecurity”), which had hardened into a sturdy adobe brick. That issue—with its cover image of soap opera actor Larry Hagman flashing a spectacular smile now slowly fading into nothingness—seemed an apt metaphor for the entire history of the Library project.

So it was that we decided to commemorate the fifth anniversary of the opening of the Library—to the day—by returning with a grand plan not only to re-secure and renovate the Library, but to carry out a new capital improvement project: the Library Exhibition Annex (“LEA”), a 220-square-inch gallery that boasts more than 380 square inches of white-wall space and will be available for exhibitions, performances, lectures, and other cultural projects. During our four-day adventure (excluding the sixteen-hour drive each way from San Francisco to Cabinetlandia), we encountered many of the same forces that had decimated the Library. Savagely indifferent thunderstorms left us stranded in the mud on three separate occasions. Once, we were forced to abandon the van and all our equipment overnight and literally run for our lives. During the days working at Cabinetlandia, we slogged through rain, heat, mud, dust, more mud, and then lightning storms, though we were also treated to the occasional rainbow.

In the end, the adventure was successful. We rebuilt the Library and re-stocked it with the entire corpus of Cabinet. We elevated the Library structure two feet above the desert floor, rebuilt the structural wall with an additional two hundred pounds of mud and cement, added a swale to improve drainage, and cleaned and weatherproofed the cabinet. When we had finished, we celebrated by attending the Cabinetlandia Senior Prom (theme: “Into the Bush”). Everyone had a grand time, though the prom was interrupted by a pitched war for territory between two colonies of fire ants. It turns out that the bite of a fire ant is extremely painful—especially on prom night. And, as we were packing up and preparing to leave Cabinetlandia, we encountered in the desert the very thoughts of the Library itself, spectral images encoded in dust and wind. Loosed from its earthly bounds, it was as though the Library was contemplating its own future potentialities, expressing its internalized delusions of grandeur. We arrived back in civilization with a nagging question: will the dreams of the Library ever be realized, or will the structure succumb to the seemingly inexorable forces of ruin? Is the Cabinet National Library destined to become a durable monument to the fantasies of everyday office furniture, or a mound of defeated dust? Time alone will tell.

The Cabinet National Library 2009 team comprised Matthew Passmore, John Bela, Teresa Aguilera, Masha Slavnova, and Jed Olson. We are also endebted to Cordelia Rose and her crew for a mission-critical tow out of the mud.

http://www.cabinetmagazine.org/issues/35/rebar.php

Also, I have been collecting good working advice and copying it for my studio.
I am sharing it with you all as inspiration for diligent discipline and rigorous understanding we will need for this amazing opportunity.
Above is Ingrid Burrington's advice for working better, here is the video Tom Sachs uses to instruct his studio assistants - always be knolling.

I have been collaging a year book from 1972, I've been halfing faces and adding the other half to another student so it'll be close to an entire grade of two faces. I want to do this to freshman, sophomores and seniors since the layout changes as you go up and possible use an entirely different yearbook from a completely different year. I'm thinking the names will be replaced by a text of some sort that describes how all systems become a hierarchy eventually.

Steamboat 2012

Hi guys,

Park contacted me last night to discuss the organization of a monte carlo art show in colorado next spring. This is the discussion blog where we can form the theme of our awesome super badassssss shit! Let's get crackin'!

Bats

I've been drawing presidential style pictures of bats. I have three so far. I think I should do the whole set (There are 11 total give or take). I want to get some nice looking frames for them but I am pretty broke right now. I will scan the images I have from my sketch book later tonight.