Catherine Sullivan, Still from multi-channel installation Triangle of Need, 2007. Courtesy of the artist, Galerie Catherine Bastide, Brussels, and Metro Pictures, New York.
I wonder what Catherine Sullivan would think of this spam I got:
Greeting to you, How are you and how is your work? i hope that all is well with you, My name is miss Jenifer goodluck, i know that you may be suprise how i get your email, i got your email today when i was browsing looking for honest partner,then i feel to drop this few line to you , and i will like you to contact me through my email so that we can know each other and exchange our pictures, and we maybecome partner.
Remember the distance does not matter what matters is the love we share with each other.
Since Adaptationopened at the Henry last November, I’ve spent a lot of time with Catherine Sullivan’s Triangle of Need.
I’ve been checking my junk mail and reading these missives with new perspective.
Each one is a poetic, bodice-ripping epic. Mrs [sic] Rosemary’s text, for your Friday morning reading pleasure, here. The $9.6 million dollars could be YOURS.
Catherine Sullivan, Still from multi-channel installation Triangle of Need, 2007. Courtesy of the artist, Galerie Catherine Bastide, Brussels, and Metro Pictures, New York.
Dearest in the Lord,
Greetings to you and your family, I am Mrs Rosemary from Sierra-leone.I am married to Mr.John Lamine who worked with Sierra-leonen embassy in Ivory Coast for nine years before he died in the year 2006.He is also a well known fruits import and Export business man in Ivory Coast. We were married for eleven years without a child.
He died after a brief illness that lasted for only four days. Before his death we were both born again Christian. Since his death I decided not to remarry or get a child outside my matrimonial home which the Bible is against. When my late husband was alive he deposited the sum of $9.6Million US dollars with a Securty Company in Ivory Coast Presently, this money is still in the custody of the Company. Continue reading ‘Mrs Rosemary from Sierra-leone’
Heather’s exhibition is also an “adaptation” of sorts, inspired by T.S. Eliot’s “Four Quartets,” string theory, and Alan Kaprow’s unrealized performance, “Breathing Piece.”
Eve Sussman and the Rufus Corporation. Photographic stills from The Rape of the Sabine Women (Disintegration at Hydra), 2005. Courtesy Roebling Hall, New York. Photo Ricoh Gerbl
This past November the Henry was proud to host visiting Artist, Eve Sussman for the opening of Adaptation and the Henry Open House. Prior to the opening on Thursday, November 20th we were joined by Eve Sussman, Jeff Wood, and Claudia de Serpa of The Rufus Corporation, an ad hock troupe of artists and performers, to discuss The Rape of the Sabine Women and other works.
Among the topics discussed in this lecture were; The Surveillance Gaze, photography before photography and Los Meninas, and The Imposition of Narrative. Selected video works were viewed throughout the lecture from Sussman’s earlier projects as well as screen tests fromBlack and White, The Rufus Corporations current project based on the work of renowned Russian national painter Kasimir Malevich.
Photographic still from The Rape of the Sabine Women (Women in the S-Bahn) . 2005. Photographic Still Photo by Benedikt Partenheimer Courtesy: Roebling Hall, New York
For more from Eve Sussmen, History and the Moving Image check out MOMA’s podcast discussion with Matthew Buckingham and Eve Sussman – just search for the names in the itunes store.
The Henry is proud to host an exclusive performance of Share this Place: Mirah and Spectratone International on Thursday, December 11 – With a discussion about the Henry’s current exhibition Adaptation at 7:00 (come early to check out the show, admission is free to the galleries!) and the performance beginning at 7:30.
In 2006 Portland Institute for Contemporary Art commissioned collaborators Lori Goldston and Kyle Hanson of Spectratone International to create an insect-inspired song cycle with K Records recording artist Mirah. Set to a suite of 12 short animated films by Britta Johnson, the resulting multi-media performance premiered at Seattle International Children’s Festival in May 2007.
Influenced in part by the writings of 19th century French naturalist J. Henri Fabre (called “The Homer of Insects” by Victor Hugo), Share This Place also draws from Karel Capek’s surrealist Insect Play and a host of other sources. Layered with the luxuriant sounds of Spectratone International, Mirah’s beautifully delivered lyrics combine an epic scale and intimate tone, as in this excerpt from “Love Song of the Fly:”
Oh why do you despise me?
Only criticize me?
Your wrath collides with the love that resides in kaleidoscope eyes
Care you not for my speed and bravery
You only think me base and dirty
But I love you still darling, you multiply in my eyes
ABOUT MIRAH:
Photo by S. Dewall
Mirah Yom Tov Zeitlyn (her first name pronounced as to rhyme with the former Italian currency) was born on September 17, 1974 at her parents then home on Westview Sreet in Philadelphia, Pennsylvania. The youngest of three, Mirah grew up mostly in Bala Cynwyd, a suburb of Philadelphia. In her waning teen years, Mirah moved to Olympia, Washington to attend The Evergreen State College where she began making music, teaching herself to play guitar. She released her first album, Storageland, on yoyo Recordings in 1997. Proudly joining the roster of other fine artists on the K record label in 1999, she began to experiment with recording, producing some material by herself and also working with her close friend and favorite person to record with ever, Phil Elvrum. Several fantastic albums, You Think It’s Like This But Really It’s Like This (KLP112), Advisory Committee (KLP135), Cold, Cold Water (ipu100) & Songs from the Black Mountain Music Project (KLP150) have since been released by Mirah on K. In March of 2004, her collaboration with the Black Cat Orchestra from Seattle, entitled To All We Stretch The Open Arm, was released on yoyo recordings (www.yoyoagogo.com). In March of 2009 Mirah will unveil her new full length solo album, (a)spera.
ABOUT LORI GOLDSTON & KYLE HANSON:
Photo by S. Dewall
Lori Goldston composes for and performs with film, theater and dance as a bandleader, producer, and session and side player. As a freelance cellist she has performed and/or recorded with Nirvana, Cat Power, Threnody Ensemble, Ellen Fullman, Laura Veirs, the Presidents of the United States of America and many others. Past composition commissions include music for the HBO documentary Heir to an Execution, a puppet opera commissioned by On the Boards, a collaboration with kotoist and composer Elizabeth Falconer on two scores for the Northwest Film Forum’s Yasujiro Ozu retrospective, and a solo cello score for Carl Dreyer’s “The Passion of Joan of Arc”. She composed and performed original scores with early silent films on her own and with the Black Cat Orchestra, which she founded with Kyle Hanson in 1991.
Kyle Hanson has composed music for film, dance, radio and theater in the Northwest since 1987. From 1991 to 2004 he led the Black Cat Orchestra with long-time collaborator Lori Goldston, performing at venues throughout the Northwest and in New York, and appearing on David Byrne’s 1997 album, Feelings. A co-founder of the interdisciplinary Run/Remain Ensemble, Kyle has co-created numerous multi-media performance pieces with collaborators across a range of disciplines, including PEN/West award-winning writer Stacey Levine, visual artist Friese Undine, and dance theater company 33 Fainting Spells. Kyle was 1999 recipient of an Artist Trust Fellowship in Music Composition.
ABOUT BRITTA JOHNSON:
Photographer: Britta Johnson
Britta Johnson is a Seattle based filmmaker. She has collaborated with a number of musicians in different capacities, including making projections for Robin Holcomb’s staged song cycles, O Say a Sunset, which premiered at the Walker Art Center in Minneapolis and The Utopias Project, performed at MassMoCA in North Adams, Massachusetts. She has also made music videos for Laura Veirs and Minus the Bear, among others. Her recent short, “But Soft,” commissioned by the Northwest Film Forum as part of its Signature Shorts series, has been playing in film festivals in Seattle and across the nation.
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