We are pleased to have Neil Ellis Orts, Wanda Harding, Abby Koenig, Dean Liscum and John Pluecker share their responses to the Fall 2011 theme:

Slinging ...

click to continue to Slinging Ink Online – Fall 2011]]>

• I WAS LOOKING FOR A JOB, AND THEN I FOUND A JOB, AND HEAVEN KNOWS I’M MISERABLE NOW.
• The artist with the most votes will receive $100.00 cash money.
• Voting will continue through 11:59 PM CST on January 18, 2012.
• Artist Bios:

We are pleased to have Neil Ellis Orts, Wanda Harding, Abby Koenig, Dean Liscum and John Pluecker share their responses to the Fall 2011 theme:

I WAS LOOKING FOR A JOB, AND THEN I FOUND A JOB, AND HEAVEN KNOWS I’M MISERABLE NOW.

The artist with the most votes will receive $100.00 cash money.

Voting will continue through 11:59 PM CST on January 18, 2012.

Slinging Ink promotes not just creative writing, but also short forms like memories, reports, notes, letters, recommendations, lesson plans, proposals, complaints and confessions.  Submissions included fiction and real-life stories about quitting, getting fired, or holding on for dear life to an awful job just to pay the bills. Writers focused on first days, workplace injuries, questionable judgments, and ordinary tedium.

Vote HERE.

Artist Bios:

Neil Ellis Orts is a writer and performer supporting himself via a series of less than fulfilling day jobs.  He’s written a lot of stuff.  Some of it has even been published.

Wanda Harding is a reformed computer programmer and is happy exploring many art forms – photography, painting, poetry and essay writing.  She lives inside the loop with her husband, seven-year old daughter and tabby cat.  She’s always hoping for the possible.

Abby Koenig recently completed her MA in Mass Communication from the University of Houston. She is a regular contributor to the Houston Press’ Art Attack blog. Additionally, she is a playwright and performance artist with works produced in Houston and New York. She enjoys to complain incessantly about the end of world, which you can find her rambling about on her blog www.thesuccub.us.

Dean Liscum works in the marketing department of a large, multi-national company. When he’s not pimping his metaphors out for pennies, he writes for Robert Boyd’s local arts blog. He’s been published in Arts Houston magazine, The PanHandler, and possibly other now defunct periodicals, zines, websites/webholes that he’s too lazy to look up or too unambitious to fake.

John Pluecker  is a writer, interpreter, educator and translator. His work is informed by experimental poetics, radical aesthetics and cross-border cultural production and has appeared in journals and magazines in the U.S. and Mexico, including the Rio Grande Review, Picnic, Third Text, Animal Shelter, HTMLGiant and Literal. He has published more than five books in translation from the Spanish, including essays by a leading Mexican feminist, short stories from Ciudad Juárez and a police detective novel. There are two chapbooks of his work, Routes into Texas (DIY, 2010) and Undone (Dusie Kollektiv, 2011).

Post-performance Reception: Friday, January 13

Part-time Houston-based choreographer and former Forsythe Company member Ayman Harper comes to DiverseWorks with the U.S. premiere of (theLID, a  conceptualized dance event. Collaborating with renowned sound artists Matmos, ...

click to continue to Ayman Harper with Matmos: (theLID]]> Ayman Harper with Matmos
(theLID
Friday & Saturday, January 13 & 14, 2012, 7:30pm
(Please note the Friday & Saturday night performance are SOLD OUT! However, we will have a waiting list at the door and will release tickets for late reservations and no shows)
* Please arrive at DiverseWorks  no later than 7:15pm. Tickets will be released at 7:30pm

Post-performance Reception: Friday, January 13

Part-time Houston-based choreographer and former Forsythe Company member Ayman Harper comes to DiverseWorks with the U.S. premiere of (theLID, a  conceptualized dance event. Collaborating with renowned sound artists Matmos, dancer Jermaine Spivey (with Kidd Pivot Frankfurt RM), and Costume and Prop Designer Tomi Paasonen, (theLID is a musical composition unfolding in the form of dance. Combining Matmos’ ability to create whimsical and peculiar electronic sound assemblages from everyday objects with Harper’s ability to create lyrical and idiosyncratic movement, (theLID is a hybrid performance event in which movement and sound composition are mutually inspired.

*Please note this performance does contain some nudity.

Trailer for (theLID

Post-Performance Reception: Friday, January 13
Join us for a reception immediately after the performance at DiverseWorks. We will be offering light bites and drinks and a chance to meet the artists!
Hosted by Marta Bourke, Lise Liddell, Fash Barvarz & Saida Ibrahimova, and Heather Pray

TICKET INFORMATION: Tickets for (theLID can be purchased by clicking HERE or by calling our 24 Hour Reservation Line 713.335.3445.

(theLID is a production of Ayman Harper in coproduction with The Forsythe Company and Künstlerhaus Mousonturm supported by Hebbel am Ufer and DiverseWorks ArtSpace, the Artist in Residence program of Tanzlabor_21/ A Tanzplan Deutschland Project, National Performance Network with funding provided by the German Federal Cultural Foundation, and National Performance Network (U.S.)

Press

(theLID was selected as one of the top pics of the 2011-2012 Art Season, check it out! Article by Nancy Wozny, CultureMap

“Ayman Harper Returns to Houston with Matmos” – Steven Jansen, Art Attack

“Fill Up Your Dance Card”-Nancy Wozny, Arts+Culture

“Hope Stone Dance and (theLID Moving Experiment”-Molly Glentzer, 29-95.com

“Go on an adventure of dance, music with ‘theLID‘ at DiverseWorks ArtSpace this weekend”-Elizbeth Mosure, yourwestUnews.com

Sponsored by Les Givrals Kahve, Michael’s Cookie Jar, Oh My! Pocket Pies!,  Saint Arnold Brewing Company and Whole Foods.

Directions to DiverseWorks, click HERE.

Choreographer, Becky Valls and her sister / sculptor, Babette Beaullieu team up with film maker Deborah Schildt to bring you the third chapter in their memoirs series. Chapter Three: Ave Maria is about “remembering mama” in the context of a large Catholic family in Louisiana. The performance fuses the sisters’ individual art work with childhood ‘sense memories’, a cast of dancers, a singer, film, and an art installation.

For more information, click HERE.

To purchase tickets, click HERE.

Sponsored by Saint Arnold Brewing Company

My Life as a Doll
You travel through Tara Conley’s and Tria Wood’s My Life as a Doll as a voyeur might through a stranger’s home, inspecting room after room for what might be occurring inside. At times you do a double take at the wall of mirrors and in the “cock & tail” party room, in the expansive “closet” with its colorful ropey tentaclelike cotton dress and eerily flat ...

click to continue to GALLERY GUIDE – My Life as a Doll]]> Tara Conley & Tria Wood
My Life as a Doll
Curator Diane Barber
November 11-December 17, 2011
Opening Reception: Fri. Nov. 11, 2011
6-9pm

My Life as a Doll
You travel through Tara Conley’s and Tria Wood’s My Life as a Doll as a voyeur might through a stranger’s home, inspecting room after room for what might be occurring inside. At times you do a double take at the wall of mirrors and in the “cock & tail” party room, in the expansive “closet” with its colorful ropey tentaclelike cotton dress and eerily flat black dresses tagged for various emotional purposes, in the breakfast room with table legs dripping in “honey,” or at the cagelike “princess” bed, because you can’t be sure of what you saw, whether fact or illusion. Conley and Wood are astute observers of cloaked feelings and stalled dreams. My own response to the installation, which resembles a cross between a gigantic dollhouse and fairytale pop-up book, is immediate and visceral. Here are two artists tunneling through the complexities of a genuine urgent vision, operating as much from their guts as their heads, and actually saying something about the life choices all of us – female, male, young or elderly – are forced to make on a daily basis.

Combining text, images, objects and sound, the work exerts a palpable closeness, an immediate intimacy with the viewer that is disorienting and destabilizing. There is
a sense of life lived not as a series of decisive moments, but rather as a random accumulation of shrunken events. Toward that end, My Life as a Doll shows the powerful undercurrents of confused motives and mixed signals. Make no mistake, the installation pulsates with sweaty energy and ribald humor, even as it satisfies an appetite for the grand-scale narrative. There’s an overarching air of melancholy just barely kept at bay, balanced with an oddly inviting warmth. Their Pop sensibility is fast and twisted, as likely to embrace gritty urban realism and Barbie fashions as literary masterpieces and underground comics. Such mixing of sources is hardly new, but Conley and Wood pull it off through sheer exuberance and technical skill. What seems like a stage set-like environment of disparate, individually seductive elements in slangy materials and cake icing colors snaps into a handsome orchestration once you journey through the house or scan it as a whole. The result is a giddy dance of pattern, color and buoyant movement.

Conley’s hybrid sculptures are involved with process and image, flesh and physicality. Her images invoke tender touch and luscious, scabrous fury. For the DiverseWorks installation, Conley balances the sense of casual hands-on intimacy with the unexpected poetic interaction of such simple materials as Styrofoam, metal rods, fiberglass and pigment. Both Conley and Wood are skillful wordsmiths—they have an almost unfailing ear for language and overheard phrases—junk mail and sleazy bar come-ons or snippets from classic literature and trashy blogs. In doing so, they aim to unmask the cultural ideals and commercial products that promote the lavish fantasy of role playing from birth to teenage and adult years. Our lives, as Conley and Wood suggest, continue to be shaped by such props. How do others perceive or judge us? How do we perceive ourselves? How have we been manipulated? The artists address commodity fetishism and control, problematizing it as a question of woman’s / man’s desire. What interests them is not merely the activation of desire, but the examination of its complex structures. Can we never have enough? At issue is a deep set of oppositions between the private and the public, between the self and the media at large, between success and failure, between hidden obsessions and our daily passage with one another. And those oppositions make less sense every day. Conley’s and Wood’s highly structured, multitiered installation isn’t a platform for dysfunction or laying easy blame for life’s disappointments. Their fascination with the autonomous falsity of human relationships may undoubtedly offend many viewers. But unlike some artists’ ingratiating vignettes of social norms, they take offense as a good sign.

Indeed, My Life as a Doll packs a considerable punch by posing the dilemma of mass-media believability versus trustworthiness. As we recoil from the shallow fictions of material success and domestic bliss, we also recognize that we are forever wanting things to get better and better, even half-expecting that they will. Still, the dark side of domestic life – familiar though it is now – remains an essential theme. We have known for some time that the center isn’t holding. If the home is where children develop dreams and myths about their future, then what makes a home secure? What makes a home loving and warm, or cold and empty? For Conley and Wood, perhaps the effort “to get one’s house in order,” or at least to try and see it clearly, is less a withdrawal from responsibility than an expression of sanity. Like the dream, you can’t have the perfect home, the perfect lifestyle – you can’t achieve the promised transcendence – unless you buy into a piece of the fantasy. Overall, My Life as a Doll displays the remarkable talent for visual metaphor and for embodying symbols in material form. With this multidimensional tableau, Conley and Wood put into play an impressive spectacle that cuts loose any fixed ideas about identity, time and memory, about probability and luck, good fortune and bad, about relationships and children, fair play and the anxieties bubbling beneath the surface of everyday life.

-Susie Kalil

Curator Statement
Years ago I saw a photograph in an exhibition that, for me, gave rise to a flood of conflicting emotions. The image was a stark, black-and-white portrait of a young, stoic girl dressed in a bridal gown taken by Cuban photographer Tony Mendoza. The title of the photograph was as follows: “Halloween, 1992. Lydia, who had just turned three, wanted to be a bride.” I don’t know why I found that image so disconcerting. On the surface, it was actually kind of charming—the wide-eyed girl playing dress up as so many girls do, publicly trying on a new persona to see how it fits. However, the way the girl was depicted suggested anything but play. She was all dolled up but expressionless, bored even, and I found myself wondering about the source of her discontent and what the photographer wanted to convey by depicting her this way. Perhaps I was over-thinking it. Maybe the dress was uncomfortable or she was disappointed because she had envisioned it with a longer train, or maybe she was simply tired of sitting still for the photographer. Whatever the case, the image stuck with me and resurfaced in my mind all these years later during preparations for this show.

When I first began talking to Tara Conley and Tria Wood about their ideas for My Life as a Doll, I was intrigued but apprehensive. Having recently worked on a cross-generational exhibition by a roster of high caliber female artists—some of whom overtly explored feminist themes in their work and labeled them as such, and others who deliberately disassociated themselves from feminist ideology because to them it seemed outdated—I was cautious about the loaded nature of the exhibition that Conley and Wood imagined and their ideas for tackling it. There’s a lot of baggage here and it fascinates me that explorations of gender roles and societal constructs that reinforce those roles have been undertaken by artists time and again – and, yet, there’s still so much to talk about. Here, Conley and Wood have managed to reframe the conversation in an interesting way. Their approach to this weighty subject matter is disarmingly playful and pretty, couched in the comfort of a storybook rhyme that does anything but reinforce the notion of the “happily ever after” fairytale.

The installation, which is an amalgamation of personal memories and experiences, overheard dialogue, literary references, and metaphoric dioramas, leads us into a claustrophobic circle of conflicted emotions. There’s a sense of joyful exuberance in this candy-colored world tempered by an equally powerful sense of confinement and confusion. The characters are strangely fictional yet completely recognizable and we inhabit their world as interlopers, stumbling upon some dark secret. Conley and Wood are simultaneously internal and external in their approach to the story they’ve constructed, exposing something about themselves as well as something about the culture we all have to navigate in order to become who we ultimately are. My Life as a Doll, like Mendoza’s photograph of the child bride, is certain to resonate with different people in different ways. We all bring ourselves into this imaginary and temporary place Conley and Wood have created and will likely each emerge with a reaction that is acutely personal – one shaped and filtered by our own lives and experiences, beliefs and sense of self.

-Diane Barber

About Tara Conley
A sculptor working across many media, Tara Conley creates curious biomorphic forms by employing innovative approaches to materials such as cotton, metal, and fiberglass. Her sculptures, which hug the ground, hang from the ceiling, and extend from the walls, represent a cast of fantastic characters, each with distinct attributes and attitudes. By bringing her imaginary creatures into three-dimensional space, Conley explores issues of posture, physical space, personality and sexuality, while exhibiting a delightful sense of wonder and humor. She enjoys mixing media, and challenges herself to use materials in ways unfamiliar to the viewer. Conley is also intrigued by found texts and overheard phrases, using them to create word-based sculptures. Throughout her work, she demonstrates her fascination with the ways we form relationships with others. Conley has shown her work from Seattle to Massachusetts, with major exhibitions in Houston and New York. Her monumental Bronze Bunny is currently on display in New Orleans’ Lafayette Square, where it stood with the work of artists Louise Bourgeois and Aria Da Capo as part of Sculpture for New Orleans. Art critic Doug MacCash listed this suite of sculptures in Lafayette Square in the top ten exhibits to see in New Orleans in 2009. Currently, Conley is designing an outdoor sculpture to complement her indoor artworks for the South Gessner police station as part of a commission by the City of Houston. Additionally, she and artist Joe Barrington are creating a monumental outdoor sculpture for the Rawls College of Business at Texas Tech University to be revealed in 2012. Originally from Bath, New York, Conley holds a BFA from the School for American Crafts at Rochester Institute of Technology. She lives and works in Houston, Texas.

About Tria Wood
A native Texan, Tria Wood earned her B.A. and M.A. in English and Creative Writing from Texas A&M University, where she also served as an assistant lecturer before moving to Houston. In addition, she holds an M.Ed. in Art Education from the University of Houston. Currently working as an English professor at San Jacinto College South, she has spent the past six years teaching creative writing to children of various ages and mentoring other creative writing teachers through the nonprofit Writers in the Schools program. Wood has also worked as an instructional designer and as a program coordinator for a nonprofit theater arts outreach for at-risk children. She studied improvisational acting, including completing the UCB Theater’s intensive summer workshop in New York City, and performed as a member of a comedy troupe in Houston. More recently, Wood spent several years as Visual Arts Editor for ArtsHouston magazine. Her poetry, fiction, art criticism and reviews appear in a variety of publications such as SPOT, Snowy Egret, Concho River Review and Arcadia. Her poetry and fiction explore the varied and complex ways we negotiate distance and desire, and comment on the way power structures shape personal life. She is also at work on a young adult novel. A lifelong fascination with museum tableaux and cabinets of curiosities inspires her engagement with installation art.

About Diane Barber
Diane Barber is an Independent Curator with more than 20 years of experience in the Visual Arts. Projects include major exhibitions with an international roster of artists presented in arts organizations, galleries, universities, schools, and other public spaces and institutions. Most recently, Barber served as Co-Director/Visual Arts Curator of DiverseWorks. During her 14-year tenure, Barber curated more than 65 exhibitions for DiverseWorks giving particular emphasis to commissioning new works and site-specific installations and to developing programs with charged cultural and political undertones. Prior, Barber served as Exhibitions/Publications Coordinator for FotoFest International. Professional affiliations include the Warhol Initiative, NPN’s Visual Arts Network, the NAMAC 2009 Leadership Institute, the Advisory Board of FotoFest, the Board of Directors of the Friends of Women’s Studies at the University of Houston, and ArtTable. She is past board president of the National Association of Artist Organizations and former Chairman of the Houston Coalition for the Visual Arts. Barber is also a founding member of the Independent Arts Collaborative, a Houston-based organization working to develop a multi-tenant arts complex in Houston’s urban core.

My Life as a Doll was made possible by:

Devoted Dolls
Leslie & Brad Bucher
Divine Doll
Fabené Welch

Daring Dolls
Mary & Bernie Arocha

Dreamy Dolls
Nancy Allen
Jereann Chaney
Robert Liddell

Delightful Dolls
Gigi & Ken Airheart
Tracey, Drew, & Holt Baird
Carrie & Jim Markello
Winston & Eliot Wood

Darling Dolls
Glenna & William Conley
Jan Diesel
Deborah Dunkum
Candice & Nick Goodwin
Minnette Robinson
Cynthia Toles
Christine Wood

Dandy Dolls
Leigh Smith
Lilly Andress
Toby Kamps
Vickie Hodges
Kellye Sanford & Fritz Lanham

Special Thanks
Marco Guerra

In-kind Contributors
A Fare Extraordinaire
Felix Sanchez Photography
Finch Creative
Bob Abbinanti / Que Imaging
The Stein Family / Triple-S Steel
Dan Workman / SugarHill Studios

Doll Team
Diane Barber
Michelle Engleman-Berns
Greg Bruegger
Jon Clark
Mary & Bill Conley
Oray Derbigney
David Diaz
Randall Dorn
Amber Erksine
Haden Garrett
Sharon Ferranti
Joe M. Flores
Silas Johnson
Susie Kalil
Augustine Perez
Rodrigo Rodriguez
Joy Roliff
Jennifer Shorb
Amy Skoda

Cock & Tail Party Voices
Sara Jo Dunstan
Stephen Foulard
Adam Pecht
Karen Schlag
Cris Skelton
Leighza Walker

Thanks to the DiverseWorks Team!

Your Life as a Doll
Our donors and team members have brought this project to life. You, too, can be recognized in our catalog, documentary and future traveling exhibitions of My Life as a Doll. Be a doll, won’t you? Donate today! For more information or to donate, please contact Tracey Morton at tracey@diverseworks.org or call 713-223-8346.

Events Related to My Life as a Doll:

ArtCrawl
November 19, 2011
Tours at 2pm, 3pm, 4pm
Join DiverseWorks for the 19th Annual ArtCrawl. As part of the festivities, Artist Tara Conley and writer Tria Wood will be giving tours of their exhibition My Life as a Doll and answering questions.

My Life as a Doll Panel
December 3, 2011, 2pm
A panel discussion of current social, cultural, and artistic issues raised by My Life as a Doll moderated by Susie Kalil. Panelists include Kimberly Davenport, Director and Chief Curator, Rice Gallery; Dr. Elizabeth Gregory, Professor and Director of Women’s Studies, University of Houston; and Dr. Nels P. Highberg, Associate Professor and Chair, Department of Rhetoric, University of Hartford.

Talk and Tour
Tuesday, December 13, 2011, 7pm
Come by for a talk and tour with Tara Conley and Tria Wood as they walk visitors through their installation My Life as a Doll and answer questions.

Catalog and Documentary (2012)
My Life as a Doll full color exhibition catalog will be published with an essay by Susie Kalil and photography by Felix Sanchez. A documentary by filmmaker Sharon
Ferranti which follows the creative process of My Life as a Doll is in production. The film premiere and catalog signing event will take place in 2012, venue and date to be
announced.

Public Programs
All events are free and open to the public, and take place at DiverseWorks ArtSpace.

My Life as a Doll is sponsored by:
KUHF (88.7FM) / KUHA (91.7FM)
Saint Arnold Brewing Company

Gallery Hours: Tues.-Sat., 12-6pm
Free Admission and open to the public

About DiverseWorks ArtSpace
DiverseWorks is a non-profit art center in Houston, Texas dedicated to presenting new visual, performing, and literary art. DiverseWorks is a place where the process of creating art is valued and where artists can test new ideas in the public arena. By encouraging the investigation of current artistic, cultural and social issues, DiverseWorks builds, educates, and sustains audiences for contemporary art.

DiverseWorks ArtSpace
1117 East Freeway, Houston, TX 77002
713-223-8346
diverseworks.org

2010-2011 DIVERSEWORKS FUNDERS:

UNDERWRITERS
Alice Kleberg Reynolds Foundation; The Andy Warhol Foundation for the Visual Arts, Inc.; Anonymous; Brown Foundation, Inc.; Brad and Leslie Bucher; The City of Houston through the Houston Arts Alliance; Cullen Trust for the Performing Arts; Doris Duke Charitable Fund; Houston Endowment; Joan Mitchell Foundation; KUHF (88.7FM) / KUHA (91.7FM)*; LINC (Leveraging Investments in Creativity); Louisa Stude Sarofim Foundation; MAP Fund/ Creative Capital; National Endowment for the Arts (a federal agency); National Performance Network; New England Foundation for the Arts; Texas Commission on the Arts; University of Houston; Birgitt Van Wijk; The Wortham Foundation, Inc.

PATRONS
Foundation for Contemporary Art; Fritz Lanham & Kellye Sanford; Nightingale Code Foundation; Regulatory Economics Group, LLC; Visual Artists Network; Fabéne Welch

MAJOR DONORS
Bernie and Mary Arocha; Rosalie Buggs; Felix Sanchez Photography*; Patrick & Tracey Keegan; Que Imaging*; Shannon & Leslie Sasser; Saint Arnold Brewing Company*; Bob & Lillian H. Warren

DIVERSEDONORS
A Fare Extraordinaire*; American Express Charitable Fund; Diane Barber & Karen Niemeier; Adam Brackman; David Brown*; Boheme Cafe & Wine Bar; Shannon Buggs; CenterPoint/ June Deadrick; Jereann Chaney; Cozen O’Connor; Jason Fuller; Greentree Foundation; Guitar Center*; Houston Chronicle*; Houston Independent School District; Allison Hunter*; Italy-America Chamber of Commerce of Texas – Houston*; JBD Foundation; Mark Johnson; J.B. Kobayashi*; Marshal & Victoria Lightman; Lester Marks & Penelope Gonzalez; Tierney Malone*; Paul Mandell; Sari Miettinen; Lan Norwood & Bryan Vezey; Judy & Scott Nyquist; Poison Girl; Pura Vida Tequila*; Real Ale Brewing Co.*; Howard Sherman*; Kaneem Smith*; Christina Solís; Target Corporation; Chuy Terrazas; Emily Todd; Wade Wilson Art*; Mark Dean Veca*; Wade Wilson Art*; Sixto Wagan & Matthew Dirst; Sarah Walters; Fabene Welch; Frank White*;
Whole Foods*; Josh & Tina Zulu*

*In Kind

BOARD OF  DIRECTORS
Adam Brackman, Melanie Crader, Loli Fernández-A Kolber, Andrade,Jason Fuller, Rob Greenstein, Stephen Hill, Patrick Keegan, Marshal Lightman, Hal Roach, Kellye Sanford, Kaneem Smith, Christina Solís, Sarah Walters

ARTIST BOARD
Soodabeh Babcock, Elizabeth Barrera, Elaine Bradford, Lucinda Cobley, Melanie Crader, Sasha Dela, Casey Fleming, Mark Francis, Ryan Geiger, Hank Hancock; Laura Harrison, Thomas Helton, J Hill, Maria Cristina Jadick; Mick Johnson, Laura Lark; Libbie Masterson, Greg Oaks, Louie Saletan, Soody Sharifi, Jennifer Tyburczy;
Katherine Veneman

STAFF
William Betts, Tracey Barnett, Shawna Forney, Jon Read, Sixto Wagan

Playing off personal narratives, landscape and a sense of place and time, Braden King’s work transforms a nostalgic feeling of home.

Sparklehorse: Morning Hollow (6:25)
Music Video.  Album: “It’s a Wonderful Life” (Capitol)

Bonnie ‘Prince’ Billy: Horses (4:40)
Music Video.  Album: “Bonnie ‘Prince’ Billy Sings Greatest Palace Music” (Drag City / Domino)

[ POSTCARDS FROM ] HERE: ...

click to continue to GALLERY GUIDE – flickerlounge]]>

flickerlounge:
A Sense of Place and Home
Short Films and Video Works by Braden King
Co-presentation with Aurora Picture Show
November 11-December 17, 2011
Opening Reception: Fri., Nov. 11,
6-9pm