Composite

Composite No. 9 Function comes out in just over a week. To get ready for the issue, I had a brief conversation with Ryan and Bruce of Kong Screen Printing. Kong is a top notch screen printing shop in Austin, TX, real life home to the Dylan Panthers, amongst other note worthy things. Ryan, Bruce, and myself all have worked out of the same screenprinting Co-Op (Artist Screen Printing Cooperative) in Austin, which for over two years has been home to a number of great artists forming relationships and sharing ideas. Kong is one of these stories, and we are excited to be including them in our upcoming issue.

Composite: What is Kong Screenprinting? How did the two of you come together and decide to make what you are today?

Ryan Kong: Kong Screenprinting is a customer service focused screen print and design shop based in Austin, TX. We specialize in high quality art design, screen printed apparel, and paper prints.

We met through the Austin Screen Printing Co-Op, were be both served on the board.  Bruce had an extensive background in textile printing and had started Kong Screen Printing at the beginning of 2011, focusing on high quality textile printing.

Ryan had been printing fine art limited editions  and collaborating with visual artists for over 15 years, as well as producing his own limited edition prints. He was the director of a university affiliated, non profit press and had relocated to Austin.

Bruce Kong: After several discussions and working on a few small projects together, we realized that we shared many of the same goals and our printing backgrounds complimented each other very well. Together we are able to bring a fine art approach to commercial printing, which allows us to give our customers a very unique service experience and printed product.

C: During SXSW last year you guys got alot of buzz around a certain t shirt asking people NOT to move to Austin. Obviously this is a show of love and desire to maintain Austin as it is the rest of the year. How’s the Austin community as far as your work goes?

RK: In a word – AMAZING! Austin has such a great energy that comes directly from the people who live here and who want to keep this place unique and local.

BK: The conflict between growth and “keeping things the way they are” is something that every great thing goes through. In this case, so many people are moving to Austin because the culture here is unique and amazing. The questions that loom around this issue are large and there is not one right answer to them all. We just know we can keep doing things that we think are cool and unique, and help promote the culture that we think makes Austin unique.

C: How do you see graphic design and Screenprinting “stuff” in the broader dialogue of what’s happening in Austin’s art scene? What about art communities in general?

RK: I’ve been working in screenprinting for a long time and am really excited to see how well it is being utilized by printers and artists across the nation right now. Perhaps more than any other time period since Pop Art, people are embracing this medium and realizing how limitless it is for production and expression. This is partly because there is so much digital imagery and printing around us, and screenprinting provides a physical difference that people can see and feel.

It’s also because many of the old debates that fueled Pop Art (i.e. what is commerce? What is Art? Where do they intersect?) are not the hot bed issue they once were in academia. I don’t think that is the debate any longer because people realize that good art goes hand in hand with good business.

I credit fashion and extreme sports with a lot of this new understanding. Jimbo Phillips was a huge influence on me and a lot of people I talk to who are interested in screenprinting seem to come at it from a similar well spring of influences.

BK: I think the awareness of t-shirts as good design and art has really developed in the past few years as street art has gained prominence in the artistic world. Artists like Shepard Fairey and David Choe have really embraced t-shirts as a way to spread their art. Also, sites like Threadless and Designed By Humans have helped raise the general level of consciousness that a well designed t-shirt has merit and is worth spending good money on.

C: How do you juggle running the day to day designing and labor of running a print shop with your personal work. Do you make that distinction in your practices?

RK: I wised up and realized “You can’t do everything by yourself!”

Having Bruce as a collaborator, business partner and co-designer just feels right. We seem to come at everything from a completely different perspective, yet wind up at the same conclusions. His sense of humor is something easy for me to play off of and I think.

BK: You can say that again! I had done everything by myself for a year before partnering with Ryan, and you can only take your business and your art so far on your own. Ryan has helped really push my design into new areas and given me a whole new perspective of screen printing’s role as an artistic medium. Plus, it’s great to have someone to hear my jokes and smirk accordingly.

I see no real difference between the commercial and the artfulness of my practice, aside from the audience perhaps.

C: Going forward, you’ve mentioned you plan to push that kind of stuff you can print things on… What’s in the works for kong going forward?

RK: I want Kong to be the best shop in Austin. Having over 25 cumulative years of printing experience between us makes me very confident that we can print whatever someone sends our way.

A few months ago we worked on a huge installation with Jiha Moon at Saltworks Gallery in Atlanta. It was really fun and challenging because she basically asked me to print wallpaper on the wall. Printing vertically was a new experience and it came off so well. People were REALLY excited by the installation. Printers and artists who know how to screenprint were also really enthusiastic.

At this point in my printing craft, I feel very confident I can figure out how to print whatever I need to print. For the most part, I seldom worry about that part of “what’s next;” I’m really most concerned with expanding the realm of potential projects based upon new ideas and approaches as much as I am with the elasticity of the medium.

BK: From my perspective, our customers are what dictates “what’s next,” we just do our best to keep up! One of my favorite things is when someone comes to us with a unique request and asks “can you print on this?” Someones we can’t for one reason or another, but more often we are able to say – if you’re willing to let us experiment, we’ll figure out a way to do it. This creates a very memorable experience for our customers and helps us grow as printers.

-Zach Clark

Hey guys,

We’ve been rumbling for awhile about some changes we want to implement into the magazine. Thanks to those of you that took our survey and helped give us an idea of changes you would like. Today we’re happy to announce the first of those new things…

Composite Arts Magazine is now accepting proposals from visual artists for inclusion in upcoming Issues. We began as an invitation only project, and during our second year, we began accepting submissions of written work. Moving forward, we want to open up the conversation we are having by allowing visual artists to submit work aswell. We will be announcing issue themes two issues in advance, on the date the most current issue is released; for example, on the date of the Fall release, we will announce the Spring Theme. Proposals for the newest themes will be due within two months of their announcement.

We are currently accepting proposals for our Winter Issue “Interact”. Proposals are due on September 18, 2012, the release day of Composite No. 9 Function. Work involving ideas around, documentation of, discussion of, and actual interaction of artists, viewers, and communities will be considered. The issue theme statement follows:

In the second half of the 20th century, visual artists became interested in doing more than making objects and pictures. In this aspect, authors had been ahead of the curve, as dramatic performing arts have been allowing their work to exist outside of itself for roughly 2500 years. The Bauhaus, Fluxus, and Happenings brought performance into the fine art vernacular, and the rise of new media allowed artists to continue playing catch up—working with photo, video, and sound to create new ways of capturing, creating, and experiencing art. However, art still remained largely about the artist first and foremost: their opinions, their emotions, their experiences.

This all began to change in the 70’s and 80’s. For as little concrete cohesion existed Postmodern movement, it set in motion the idea that art content could be user generated. The “death of the artist” idea supports the viability in audience influenced and generated art. The viewer was no longer exclusively an observer, but active participant in work being created, and an influence in the outcome of that work. Today, we see creatives working in collaborative collectives outside of a defined medium. Social Practice has taken performance art to a level less about personal expression, and more about shared experience. The role of critic has given way to more accessible forms of curatorial practice through publications and podcasts. We’ve become more interested in mining for information and sharing it openly, hoping to complete the one way conversation occurring for centuries in galleries and museums. We’re looking for interaction.

In lieu of death, we’ve at least become more humble, in practice anyhow. We recognize we don’t hold all of the answers, that opinions and perspectives matter outside of our own. By working to fade to the back and create work that others can engage with, we guarantee that entering into the 21st century, the artist seems alive and well.

One of our favorite aspects of this publication has always been providing a venue for artists to show work that exists as a form of experimentation, does not fit into their normal repertoire, or they have been unable to show publicly for one reason or another. We’re hoping through this process we’ll be opening up to artists we are unfamiliar with or provide a space for those we know looking to branch out in their practice.

Selected proposals are currently unfunded. However, along with publication of the project, we are here to support and work with all artists as much as possible and can provide the use of our blog, web hosting of project collateral, and any other resources we may have access to. Please specify in proposal what you may need from us. We are interested in cultivating relationships with artists through the process of their projects.

Proposals are open to all mediums as long as they can exist within the final publication in a .pdf format. Proposals can be for work yet to be made, work in progress, or work that has been completed. Work that has already been completed must be no more than 2 years old, and also must include a written proposal/artist statement.

We’d love to hear your opinions on this and hope to be working with even more of you in the future.

For now, you can submit your work through the Submit page, or go directly to the submittable page.

For the past two weeks I have been doing an artist residency at Ragdale in Lake Forest, just north of Chicago, IL. Ragdale tried something new with this residency specifically for three teaching artists from three organizations: Marwen (where I teach), Old Town School of Folk Music, and Silk Road Rising. (Ragdale houses thirteen residents total, so the teaching artist group is 9/13 artists.)

Rather than trying to sum up all the amazing experiences I’ve had here at Ragdale (which I would highly recommend to any artist, whether you are a visual artist, musician/composer or writer) I will share one of the many exciting projects from Silk Road Rising, a theater company in Chicago. Silk Road Rising creates both live theater and online videos focusing on the stories of Asian Americans and Middle Eastern Americans. Founders and partners Malik Gillani and Jamil Khoury came to Ragdale to work on in-school curriculum centered around one of their current projects, Mosque Alert.

Mosque Alert is Jamil’s eight-step, online, interactive, new play development and civic engagement process. Inspired by similar events around the country, it tells the story of two suburban families from Naperville, IL on opposite sides of a proposal to build a new mosque in their community. Silk Road Rising encourages people to view and comment on the material for the play on their website, which is in the form of video blogs by the characters, conflict scenes, and a draft of the play. Jamil will then take the comments into account as he makes the final version of the play, to be performed as a staged reading.

Feel free to be a part of the dialogue and check out other live and video plays at Silk Road Rising’s website: http://www.silkroadrising.org/video-plays/mosque-alert

-Suzie

On August 7, 2012, Marvin Lee Wilson was executed by lethal injection in Huntsville, Texas. What drew attention to this particular execution was that Marvin Lee Wilson had an IQ of 61, making him legally mentally retarded which, through a supreme court ruling (Atkins v. Virginia), makes him ineligible for the death penalty. However, the language of the ruling allows the state to define mental retardation, to which Marvin Lee Wilson did not fall under in Texas’ definition. This highlights the moral gravity, circumstances of the individual, and ambiguous definition of the death penalty in a developed nation such as the United States. Such highlights has also become the focal points for Werner Herzog’s documentary Into The Abyss.

Herzog divides his film into several parts with distinct headings creating a sense of theatricality that is trademark of his films. Abyss begins with “Prologue” as he discusses with a death row chaplain the biblical reasoning for capital punishment, asking “Why does God allow capital punishment?” The chaplain answers honestly with an “I don’t know” thus setting a tone of ambiguity and nuance that circles the central death row inmate and the town of Conroe,Texas from which the inmate originates. Herzog’s theatricality extends to the film’s camera work with long shots of the town, showing decrepit gas stations and homes; financial distress and restlessness.  It is slow and meditative but creates a sense of tension that gives the documentary weight.

Herzog’s choice to interview a citizen of Conroe paints a rich backstory for the death row inmate and gives the circumstance nuance. Jared Talbert talks of violent involvement with other citizens of Conroe along with an attempt on his life by another. Violence, absentee fathers and a history of familiar incarceration (an interview with the accomplice’s father in jail) defines the typical male experience within the town of Conroe. Illustrating that Michael James Perry, the death row inmate guilty of triple homicide, was breed from tragedy and misfortune.

Perry’s interview humanizes him but also brings to light behavior that seems remorseless. Upon introduction to Herzog, he is polite, answering questions with a “sir” and giving an air of “country sweetness.” Yet as he begins to discuss specific details of the homicide, Perry is disturbed by a system that doesn’t see his innocence, suggesting that the murders he is implicated in was not done by him (contrary to police information presented earlier in the film). His last words as he is being executed is that he forgives all those involved in his conviction. His accomplice, James Burkett, along with his wife, also points to Burkett’s innocence. No one seems accountable for what has happened or remorseful.

Herzog documents those that are indirectly affected by capital punishment. A death row warden describes his role in preparing prisoners for death, and having remorse for contributing to the death of a human being, whether merited or not. The sister of one of the homicide victims is much more comfortable with the idea of Perry’s accomplice behind bars rather than being put to death.

In the end, one begins to question the idea of capital punishment. Still, one feels that those that have committed a crime should at least accept what they have done and ask for forgiveness (something that Perry did not do nor did Burkett). But death? Does taking a life equate comfort and resolution? These questions are raised during the movie and continues right after. Herzog succeeds in creating a documentary that allows discussion on the value of life, even the value of a convicted murder.

Into The Abyss, a film by Werner Herzog, is available for streaming through Netflix

This weekend, after my late shift, I found myself chatting with a co-worker about what we were reading.  Discovering we had very different reading habits, I found many of the books I hold in high regard were absent from her experience.  So I’ve compiled this short list of books I love—which you, hopefully, haven’t heard of—so you can add some, if not all, to your reading list.  Check them out.  Seriously.

Justin Torres – We the Animals

I met Justin Torres at the Texas Book Festival in Austin last October, and after a long delay I finally got around to finish his debut novel, We the Animals. A coming of age story, this novel offers an insightful perspective on what it’s like to grow up with brothers.  The writing is beautiful and powerful, heartbreaking and heart warming all at the same time.  Yet another powerful voice to come out of the University of Iowa’s Writers Workshop, you won’t be let down.

Billy Lombardo – The Logic of a Rose: Chicago Stories

A Chicago writer who is quickly making a name for himself, I first read Billy Lombardo’s The Logic of a Rose as an undergraduate.  This collection of stories follows Petey’s coming of age (I promise this is the last one) in the neighborhood of Bridgeport.  Individually, these stories stand alone in a poignant way; as a whole, this collection offers a new take on urban life.

Mark Z. Danielewski – The Fifty Year Sword

A ghost story originally published in two 1000 print runs by a Dutch publisher, this novella is narrated by five nameless voices.  It’s essentially an oral story about someone telling an oral story.  I can’t really say much more about the book without spoiling the plot, but its important to note that due to Danielewski’s passion for telling new stories in completely original ways, this book is due for another U.S. edition in October 2012.

James Robertson – The Testament of Gideon Mack

This book came to me as a happy surprise one afternoon when I was browsing the stacks at a bookstore in Chicago.  The Testament of Gideon Mack follows Gideon Mack, a Scottish minister who just happens to be an atheist.  One day, he falls down a ravine.  Presumed dead, he returns three days later with an unbelievable story: he has met the Devil.  Framed between a prologue and epilogue from an editor, who claims the novel is the memoir of one Gideon Mack, you get the feeling that the events of this book could have really happened.  I guarantee you will be thinking about this book long after you finish it.

K.L. Cook – Love Songs for the Quarantined

My last recommendation comes from my first residency of graduate school at Spalding University.  K.L. Cook is on the faculty, and we read his collection as our book in common.  From “Bonnie and Clyde in the Backyard” to “What They Didn’t Tell You About the Vasectomy,” these stories are a true delight.

Happy reading!

-Joey

So, I’m pretty mad that in order to live stream Olympic events on nbcolympics.com, you must subscribe to an NBC TV/Cable/Satellite service. If I had a TV, I’d watch it on that TV! But I don’t have a TV, and I’d like to watch online. Too bad. I am relegated to ‘Highlights’ that are a few minutes long at best.

So in honor of this, I would like to share with everyone all the best olympic street art/graffiti that Google Images has to offer. We’ll start off with some Banksy and a Mau Mau that was painted over very quickly. London is trying to crack down on graffiti, while street artist artist are speaking out about it and fighting back.

Enjoy!

-Kara

Renaissance Society

University of Chicago

May 13th – July 13th, 2012

The Renaissance Society’s survey show of Dawoud Bey, featuring over thirty years of the artist’s portrait photography, closed this past Friday. Bey is known for street portraits that seem candid at first glance, but are actually taken with a view camera. Whether photographing subjects in a studio setting or after a chance encounter on a city street, Bey gains a level of comfort with the people he is photographing, engaging the viewer to interact with the people and contemplate their story. What also makes it easier to engage with Bey’s subjects are the beauty of the large prints, due to his skill with the view camera and the detail it provides.

“Picturing People,” includes several bodies of Bey’s known work and a new project as well. “Class Pictures” is a series of portraits of teenage students accompanied by text of the individual students speaking about their personal identities and school experiences. Bey’s photographs break the barrier between the viewer and the young people, making it easy to empathize with their struggles. The show also includes “Character Project,” Bey’s portraits of Columbia College Chicago students, but without accompanying text like “Class Pictures.” These seem to have less intimacy, and feel more like people watching at any art school (which is pretty interesting in itself).

“Strangers/Community” is the new project in the survey show, with each photo featuring two individuals living in the same community (Hyde Park), but who were strangers before posing for Bey. The idea for the project is compelling as a larger portrait of a neighborhood like many others across the country that is both diverse but not completely integrated. Hyde Park is often celebrated as an ideal of vibrant cultural diversity, but “Strangers/Community” challenges how often the diverse residents interact with people unlike themselves. Though the series is fascinating as an exploration of class and race segregation, how much it has improved and how it still has a long way to go, the images seem too formulaic: the people in each photo contrast in color, age, and perceived class, appear mostly stiff, making it clear they were asked to pose together. This stiffness is part of the point, but it makes it difficult to engage with the people since they are not engaged with each other and do little more than stare at the viewer.

For me, the strongest work is still Bey’s classic street portraits, due to the engagement with the subjects in their natural environments. They are at the same time average and extraordinary because of Bey’s skill in making the images seem effortless yet elegantly composed.

Though “Picturing People” is no longer on display at the Renaissance Society, Bey also has a small selection of his very early street photography taken in Harlem in the 1970s at the Art Institute of Chicago through September 9^th: Dawoud Bey: Harlem, U.S.A. Also currently on view is a selection of work from the Art Institute’s permanent collection curated by Bey.

Post by Suzie

If you are ever privileged to have someone break down in front of you because of a recently dissolved relationship, you see a narrative unfold. A narrative filled with firsts with that person, the first kiss, the first indication that it was a relationship, the first of many more intimate embraces to be had, first signs that the relationship was on a downturn and the first of many more excuses to cover up what, at the time, didn’t seem like a character flaw, but seems apparent now. Heartache and sorrow lengthen the time of recovery between the break-up and feeling okay, strenuous to the point of making one believe that there is no end, no silver lining, that in fact, there might be something wrong with them. Of course, it isn’t until some time that one reflects fondly on that narrative by adding humor and lessening its emotional gravity.

Losing It: The Semi-Scandalous Story of an Ex-Virgin by Danielle Sepulveres is a memoir that is the encapsulation of the firsts in a relationship and the struggle to feel okay, taken to the Nth degree with humor and adversity during the diagnoses of cervical cancer, HPV, and an unfaithful boyfriend.

Sepulveres flashes back and forth within and outside the relationship to create both hope and despair. Danielle, the main character of the story, waxes poetically about first laying eyes on Matt Ryan, the person she loses her virginity to, only to cut to several pages later where she is at her gynecologist office having her vagina frozen as part of a HPV treatment. As the book progresses, the flashback device serves to keep readers from being a cynic (at one time, there was genuine affection between both of them) but also keeps one grounded (Matt Ryan, her first, cheated on her and gave her HPV). One can easily lose themselves in the beautiful tender moments between Matt and Danielle, scratching one’s head and trying to find out how it all went wrong, only to be answered a few pages later.

While the flashback device proves effective in eliciting emotions on both extremes it does, at certain points, confuse one’s sense of time within the book. Flipping to the beginning of the book and taking a couple of seconds to establish a timeline between certain events helps in locating oneself again. A loose end one finds within the memoir is the therapist. This can be viewed at once a triggering mechanism for the flashback device but it also feels like there should be some sort of closure (Does Danielle continue seeing the therapist? Does the therapist aid in other areas of her life?).

In the end, however, these minor discrepancies do not matter. Sepulveres excellently weaves a story that recalls the universal feelings of firsts in a relationships, making one feel less lonely and more connected to others, even when there is a loss as great as heartbreak.

Losing It: The Semi-Scandalous Story of an Ex-Virgin by Danielle Sepulveres is published by Bryce Cullen Publishing and available through Amazon.com: Here.

Post by Xavier

Wesley Willis, rockin on Chicago from heaven

In our most recent issue, No 8 Aberration, we included a link to a reader survey on the second to last page of the issue. We wanted to take a minute to explain why we’ve asked you all for some more information. If you haven’t yet, we hope you take the survey sometime soon. You could even stop and take it right now HERE.

We’re entering into our 3rd year of Composite and are trying to figure out where it goes from here. We’re really happy with where we’ve come from and where we are at the moment, but we’d be lying if we said we wanted to stay exactly where we are at. Specifically, we want to create a publication and community that does more to support the artists we work with, and the art/lit community as a whole than we currently are. Additionally, we want to provide more opportunities and events for both our readers and our contributors to all come together and be a part of the larger community. However, we’re not completely sure where the next step is. We have a few ideas on the drawing board (which you can decipher through the survey), but much like Composite is much without its contributors, what we do doesn’t matter much if our readers aren’t behind it. So, We want to know what you think! If you have ideas bigger than the survey, email us at Compositeeditors@gmail.com. We would seriously LOVE to hear what you think.

Again, that survey can be found at www.surveymonkey.com/s/TBS2CJP.

As a “Thank You” of sorts, I’ve compiled a playlist of music for your listening pleasure inspired by our latest issue. It’s an admittedly eclectic mix of music, with a heavy lean towards electronic music (much like the issue) but with some songs thrown in here and there from records I was listening to while laying out Aberration, staring at Christopher Meerdo’s pixel maps for hours. The full track listing is below, and you can download it HERE. Feel free to direct any complaints to me directly at thegreatestescapist@gmail.com.

Thanks for everything folks!

Aberration Playlist:

I Am The Lazer Viking 0:45 AN ALBATROSS

Wild Honey 2:40 The Beach Boys

One Life Stand  5:22 Hot Chip One

I Can See It In Your Face 6:48 Pretty Lights

Holy Tears 7:04 Isis

The Ringing In My Ears 4:59 Her Space Holiday

Shuffle 3:55 Bombay Bicycle Club

She Moves She 4:42 Four Tet

Heartless 3:31 Kanye West

Venice 1:43 The Books

Kong 3:58 Bonobo

www.ipetitions.com/petition/rivertonrifle/ 2:10 John K. Samson

Seventeen 3:58 Youth Lagoon

Bright Lanterns 3:40 The Tallest Man On Earth

Sleeping States 2:50 Gregory & The Hawk Come

Hotel Arizona 3:38 Wilco

Don’t Get Married Without Me 4:12 Punch Brothers

Dark Arts 3:49 Man Man

These Spectacles Reveal The Nostalgics 1:57 The Hives

Freak Out Hell Bus 3:08 Wesley Willis

Live From The Russian Compound 0:58 The Locust

COMPOSITE: Tell me about the show you are a part of! What is the theme of the show?

Tim Burkhart: I have a photo that will be up in the APASF’s Curator’s Voice exhibition at Carte Blanche Gallery in San Francisco. The theme of the show is (Un)Familiar and deals with the photographers view of places and events that can be both new and mundane and how they play into the artists portrayal of the theme.

CO: How does your photo fit in with the show?

TB: The image being shown recalls a moment that ocurred in my daily life, that made me feel somewhat out of place.  The moment had a sense of unfamiliarity to me, despite being something that I thought was a normal everyday occurence.

CO: How did you get involved with that show and Carte Blanche, in San Francisco?

TB: I had first come across Carte Blanche when visiting San Francisco earlier this year.  I was immediately thrilled with the space and what they were doing (being an only photographic gallery and bookstore), something that I hadn’t seen before.  They were showing works from a few photographers that I had encountered online and are giving newer names a space to show their work.  I believe they are going about everything in an amazing way; with the work being shown and the way they present themselves. They are making it far more accessible and affordable for outsiders to  purchase works in the gallery. When I heard they were doing an open submission for an upcoming show, I had no choice but to try and submit.

CO: What do you like best about the San Francisco art scene?

TB: I visited San Francisco for the first time earlier this year, and only got to check out a few spots within the Mission District (where I first encountered Carte Blanche) and It seems like they have a great scene going on.  The biggest thing that I noticed in San Francisco is the huge cultural diversity within the city, even more so than Chicago.  When you have such a wide variety of people coming together it can only lead to a progressive scene and being near the coast only helps with people traveling in from overseas bringing even more to the city and helping build the scene up.

CO: In fact, you are visiting Seattle right now–How would you compare Chicago to the West Coast?

TB: Seattle has been a great experience.  The locations and scenery add so much to the city and are a nice change coming from the flatness of Chicago.  My photographic style relies heavily on location so when I am visiting a new city I just want to experience as much as possible and be thrown into new situations.  I can’t speak too much for the art scene here as I wasn’t able to visit any small galleries. I was able to visit the Seattle Art Museum, which was a really nice experience. They have a great selection of contemporary works that really got my brain going. Unfortunately, I was heading to Portland the day there was an art walk in Seattle, which was kind of a bummer to miss out on.  I cannot wait to go back though, Seattle seems to be really close to Chicago in how the city is layed out and the way the neighborhoods cater to specific tastes. I can only imagine the art scene has a lot going on.  I would definitly like to visit for an extended period of time or even live here for a bit.
Site : http://timothyburkhart.com

Flickr: http://www.flickr.com/photos/sincebyphoto_timburkhart/

(Un)Familiar at Carte Blanche
June 22, 2012 to July 18, 2012
Opening reception June 22, 2012 6.30-9pm: RSVP to apasf.com
973 Valencia Street
San Francisco, California 94110

Post by Kara