Do Ho Suh. “Karma,” 2012. Courtesy Sydney and Walda Bestoff Sculpture Garden, New Orleans Museum of Art.

In this week’s roundup, a new Do-Ho Suh sculpture rises in New Orleans, Ursula von Rydingsvard talks about woodwork, Ai Weiwei pays homage to Pablo Neruda, William Wegman creates an animated GIF, and much more.

• Do-Ho Suh’s Karma, a twenty-three-foot-tall monumental stainless steel sculpture, recently made a 1,300 mile trip from the Polich Tallix fine art foundry in New York to the New Orleans Museum of Art in Louisiana. The piece consists of 98 cast and metal sintered figures, each figure descending in size from the bottom to the top. Now part of the museum’s permanent collection, Karma is installed in their Sydney and Walda Bestoff Sculpture Garden.

• Beryl Korot: Text and Commentary is on view at the Whitworth Art Gallery (Manchester, UK). The exhibition features Beryl Korot‘s groundbreaking work Text and Commentary (1976-7) comprised of weavings, videos, and paper-based scores. When first shown in 1977, Text and Commentary “moved the video medium beyond the television’s frame and into art installation.” Closes June 9.

• Ursula von Rydingsvard‘s Woodcuts is being presented in conjunction with Against the Grain: Wood in Contemporary Art, Craft and Design at the Museum of Arts and Design (NYC). The show opens tomorrow and closes September 15. A video featuring von Rydingsvard follows.

• Ai Weiwei unveiled a 900-square-meter mural dedicated to poet and Nobel laureate Pablo Neruda. Titled A Pablo (To Pablo), it runs along a wall of Parque Cultural Ex-Cárcel in Valparaíso, a prison turned park located in the Chilean port where Neruda lived. Read more about the painting over at Art Daily.

• John Baldessari, Rashid Johnson, and Mike Kelley were recently featured in the Wall Street Journal. Baldessari was one of six ”luminaries” asked to weigh in on the topic of color for the monthly feature The Columnists. Johnson was interviewed for the “The Art of Inspiration,” an article about his upcoming curatorial project Hard-Edge Paintings 1963-1966. And Kelley is the focus of “The Escape Artist,” an account of his ”extraordinary life” and “troubled last days.”

• Louise Bourgeois‘s Crouching Spider sculpture is on yearlong loan from the artist’s estate to Dartmouth College (Hanover, NH). Part of the campus-wide initiative Year of the Arts, the piece is installed at Maffei Arts Plaza, in front of the new Black Family Visual Arts Center.

• Barry McGee‘s first mid-career survey opens at the Institute of Contemporary Art (Boston, MA) on April 6. Simply titled Barry McGee, the show will feature over 30 works, including rarely seen early works on paper; reassembled works from key installations; a tower of video pieces; a massive three-dimensional cluster of drawings; paintings and photographs. Closes September 2.

• Charles Atlas has been specially commissioned by Frieze New York for this year’s program of sound works. Atlas and the collective New Humans will extend a previous collaboration into “a new aural experience” of “electronically fractured vocals…the soundtrack and backdrop for urban island life.” Frieze New York 2013 takes place May 10-13 on Randall’s Island (NYC).

• William Wegman has created his first ever animated GIF. Go to the artist’s blog to watch his sleeping puppy spin hypnotically in a bowl.

LaToya Ruby Frazier (b. 1982). "Where is Emergency Care for Braddock?," 2010. Gelatin silver print, 16 × 20 in. © LaToya Ruby Frazier; courtesy the artist.

In this week’s roundup LaToya Ruby Frazier curates and demystifies, Ai Weiwei goes worldwide, Andrea Zittel and John Baldessari have “must-click” websites, and more.

• Inheritance: LaToya Ruby Frazier and Tony Buba at the Indianapolis Museum of Contemporary Art (iMOCA) is a curatorial effort by LaToya Ruby Frazier that includes never before seen artwork. With documentary filmmaker Tony Buba the artist spans 20th and 21st century socio-economic change in Braddock PA. This show is on view until May 19.

• LaToya Ruby Frazier‘s work can be found on the 2nd floor of the Whitney Museum (as part of the Biennial) through May 27, and on May 11 she’ll be giving a performance, Demystifying the Myth of the ‘Urban Pioneer.’ She will be joined by filmmaker Tony Buba, artist Martha Rosler, and composer and sound artist Damian Catera for a multimedia exploration of the myth of the “urban pioneer” within her hometown of Braddock, Pennsylvania. This event is free with museum admission, which is pay-what-you-wish on Fridays from 6–9 pm; there are no special tickets or reservations.

• LaToya Ruby Frazier was featured on NJTV’s State of the Arts which aired on April 1. Watch a preview of LaToya Ruby Frazier: Politics & Poetics here.

• Ai Weiwei set up a Weiwei cam website a year after police in China locked him up for 81 days, showing feeds from four live webcams in his Beijing home. This is in reference to the 24-hour police surveillance he has been subjected to since his detention and the camera feeds can be viewed by anyone online.

• Beryl Korot is at btforms gallery (NYC) and this is the artist’s first solo exhibition at this venue. Beryl Korot Selected Video Works: 1977 to Present features her landmark video installation Text and Commentary (1977), and the show also includes two of Korot’s more recent investigations into the medium, Florence (2008) and Yellow Water Taxi (2003). The show closes May 5.

Beryl Korot. "Video — Text/Weave/Line," 2011. Photo courtesy the artist and Jaffe-Friede Gallery.

In this week’s roundup Beryl Korot prints and weaves video, Jenny Holzer is honored, artists explore being American, several others celebrate creating art in Los Angeles, and more.

• Beryl Korot‘s exhibition, Video — Text/Weave/Line, is on view at Jaffe-Friede Gallery in the Hopkins Center for the Arts (Hanover, NH).  Video, print and weaving are all connected through the fundamental unit of the line, and it is this theme that resonates throughout her works at the gallery.  Korot’s use of various mediums also marks the passage of time, from the days of traditional weaving to our current of use modern visual technology.  This exhibition closes December 4.

• Mark Bradford, Carrie Mae Weems, Kerry James Marshall, Kara Walker, Rashid Johnson, Kalup Linzy, and others have work on display in 30 Americans that recently opened at the Corcoran Gallery of Art in Washington D.C.  More than 70 paintings, sculptures, videos, photographs, and drawings comprise the exhibition, which is on view until February 12, 2012.

• James Turrell unveiled a new landmark for the Bay Adelaide Centre in Toronto.  At the top of the building an extension of the glass skin beyond the rooftop becomes a series of “sails” that gives the building profile a distinctive identity. The lobby features a chapel of art inside its front lobby by Turrell.  Tall glass pieces display shifting tapestries of light–polyphonic compositions of color and movement.

• Jenny Holzer is one of three honorees slated to receive a National Arts Award.  Americans for the Arts will present the awards October 17 at a gala dinner in New York City.  Holzer will be honored for outstanding contributions to the arts.

• Julie Mehretu‘s latest work is at The Davison Art Center at Wesleyan University as part of the traveling exhibition Excavations: The Prints of Julie Mehretu.  This is the first comprehensive exhibition of prints produced by the artist thus far in her career. Accompanying the show is a 44-page color catalog with plates of the prints and an essay by Siri Engberg, curator at the Walker Art Center in Minneapolis.  The work is on view until December 11.

• Allan McCollum, Bruce Nauman, Eleanor Antin, John Baldessari, Vija Celmins, and several other artists are in Pacific Standard Time: Art in L.A. 1945-1980 which officially launched at The Getty Center in Los Angeles.  The opening party at MOCA LA featured a wall of Black Flag concert flyers, drawn by Raymond Pettibon.  Multiple exhibitions document the emergence of Los Angeles as an international nexus of contemporary art after World War II. It culminates in a series of over forty concurrent exhibitions across Southern California.

‪Cai Guo-Qiang. "1040M Underground‬," 2011. Photo courtesy the artist and Izolyatsia.

In this week’s roundup, Cai Guo-Qiang goes underground, Josiah McElheny curates for Andrea Zittel and Roni Horn, Beryl Korot composes in Krakow and more.

• Cai Guo-Qiang‘s 1040M Underground at Izolyatsia is the artist’s first solo exhibition in Ukraine. The title is inspired by the artist’s experience of the coal and salt mines of Ukraine’s industrial Donbas region.

• Art by Andrea Zittel and Roni Horn are on view at the Center for Curatorial Studies at Bard College (CCS Bard) in New York, in an exhibition co-curated by Josiah McElheny.  If you lived here, you’d be home by now presents Horn’s two-part photographic installation, This is me, This is You (1999-2000). For Horn’s work (and for others in the exhibition), McElheny “re-designed” and built Donald Judd-like furniture from which to view the artwork. The show closes December 16.

• Barbara Kruger and Carrie Mae Weems, among several other artists, are featured in At Fifty: Krannert Art Museum, 1961–2011 (Illinois), an exhibition that places art objects from ancient Greece and Latin America in dialogue with 19th century European paintings and 20th century video; realism sits astride abstraction; photography and drawings illustrate how artists have represented humanity for more than a century.  This work is on view until October 23.

• Carrie Mae Weems was one of the artists featured in part three of the seven-part series, XX Chromosocial: Women Artists Cross the Homosocial Divide. Weems’ photographs focus on the “codes that underpin and perpetuate women’s homosocialization,” to demonstrate how art can act as a mirror of its maker.  Weems’ work shows iconic images of the “girlchild” and of girls’ “first attention to mothers, sisters, and girlfriends they learn from and compare themselves to long before they (if ever) appeal to male desire.”

• Beryl Korot is one of a few select composers presenting work at the 9th Sacrum Profanum Festival in Krakow, Poland.  This will be a celebration of American Minimalism and the 75th birthday of Steve Reich – an icon of the genre.  The concert events will take place September 11–17.

• Cao Fei‘s film Shadow Life will be on display at Arthouse at the Jones Center in Austin, Texas.  The film is an adaptation of traditional Chinese shadow puppetry. The intricate hand puppets animating Shadow Life merge these traditional art forms to tell a distinctly contemporary story of modern China.  This film will be shown until October 30.  Admission is free.

• Maya Lin‘s Confluence Project: Reimaging the Columbia River is now on view at the Lewis-Clark State College Center for Arts & History in Lewiston, ID.  This exhibit includes models created by Lin and her New York studio, as well as images and models of the Vancouver Land Bridge created by Jones and Jones Architects in Seattle.  This work will be on display through February 10.

• Josiah McElheny’s Island Universe will be screened at the Harvard Film Archive (Boston, MA).  This film explores the origins of the universe and J. & L. Lobmeyr’s Space Age chandeliers for New York’s Metropolitan Opera. The screening will be followed by a discussion with Melissa Franklin, Mallinckrodt Professor of Physics, and Chair, Department of Physics, Harvard University, and Helen Molesworth, Chief Curator, Institute of Contemporary Art, Boston.  This film will be shown October 15, from 3–5pm.  Admission is free.

• Collier Schorr worked with actress Rachel Weisz for a Wall Street Journal photo cover shoot.  Schorr was chosen for her body of work exploring androgynous sexuality and her ability to capture Weisz’s sensual look in a modern way.

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Episode #131: Featuring excerpts from her groundbreaking video installation Text and Commentary (1977), artist Beryl Korot discusses how information has been encoded in lines and patterns throughout human history, whether in print media, through video, or on a weaving loom

An early video-art pioneer and an internationally exhibited artist, Beryl Korot’s multiple-channel (and multiple-monitor) video installation works explored the relationship between programming tools as diverse as the technology of the loom and multiple-channel video. For most of the 1980s, Korot concentrated on a series of paintings that were based on a language she created that was an analogue to the Latin alphabet. Drawing on her earlier interest in weaving and video as related technologies, she made most of these paintings on hand-woven and traditional linen canvas. More recently, she has collaborated with her husband, the composer Steve Reich, on Three Tales, a documentary digital video opera in three acts that explores the way technology creates and frames our experience.

The exhibition Beryl Korot: Text/Weave/Line—Video, 1977-2010 is on view at the Aldrich Contemporary Art Museum through January 2, 2011 The exhibition presents her latest body of work as well as the 5 channel weaving/video installation Text and Commentary which premiered at the Leo Castelli Gallery in 1977.

Beryl Korot created the opening segment, featuring actress S. Epatha Merkerson, in the Season 1 (2001) episode Spirituality of the Art in the Twenty-First Century television series on PBS. Watch the full episode online at PBS Video and Hulu, or purchase it for download from iTunes.

VIDEO | Producer: Wesley Miller & Nick Ravich. Interview: Wesley Miller. Camera & Sound: Nick Ravich. Editor: Mary Ann Toman. Artwork Courtesy: Beryl Korot.

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Episode #130: Beryl Korot discusses a recent work — Babel: the 7 minute scroll (2007) — which takes the form as both a large-scale print and an animated digital video. With pictographs that reference ancient Egypt and the biblical story of the Tower of Babel, Korot’s work investigates the history of tools and technology, language and narrative.

An early video-art pioneer and an internationally exhibited artist, Beryl Korot’s multiple-channel (and multiple-monitor) video installation works explored the relationship between programming tools as diverse as the technology of the loom and multiple-channel video. For most of the 1980s, Korot concentrated on a series of paintings that were based on a language she created that was an analogue to the Latin alphabet. Drawing on her earlier interest in weaving and video as related technologies, she made most of these paintings on hand-woven and traditional linen canvas. More recently, she has collaborated with her husband, the composer Steve Reich, on Three Tales, a documentary digital video opera in three acts that explores the way technology creates and frames our experience.

The exhibition Beryl Korot: Text/Weave/Line—Video, 1977-2010 is on view at the Aldrich Contemporary Art Museum through January 2, 2011 The exhibition presents her latest body of work as well as the 5 channel weaving/video installation Text and Commentary which premiered at the Leo Castelli Gallery in 1977.

Beryl Korot created the opening segment, featuring actress S. Epatha Merkerson, in the Season 1 (2001) episode Spirituality of the Art in the Twenty-First Century television series on PBS. Watch the full episode online at PBS Video and Hulu, or purchase it for download from iTunes.

VIDEO | Producer: Wesley Miller & Nick Ravich. Interview: Wesley Miller. Camera & Sound: Nick Ravich. Editor: Mary Ann Toman. Artwork Courtesy: Beryl Korot.

Barbara Kruger, "Between" installation, 2010. Photo credit: Guild Hall.

This week in the roundup … Barbara Kruger gets a celebration started, Cao Fei has her eyes on a prize, Cai Guo-Qiang goes in with a bang, Raymond Pettibon is into OFF!, Maya Lin dedicates her Confluence, Laurie Anderson opens BAM and much more!

• Barbara Kruger presents Plenty at Guild Hall through October 11. A special preview on August 13 celebrates the exhibition.  “Barbara Kruger is one of the most important artists of this century. Her work is exciting and challenging. I have wanted to work with her since I first became Curator of Guild Hall in 1990 and am delighted that the opportunity finally arrived for our schedules to coincide and work together on this amazing exhibition,” said Christina Mossaides Strassfield, Museum Director and Chief Curator.

• The Guggenheim Museum and Hugo Boss announced the artists short-listed for The Hugo Boss Prize 2010, which will be awarded on November 4, followed by a solo exhibition for the winning artist in 2011. One of the Prize nominees, Cao Fei also had her work in the 17th Biennale of Sydney, and she was nominated for the Future Generation Art Prize 2010.

• Cai Guo-Qian has been invited by the Museum of Fine Arts, Houston to make Odyssey that will adorn a new Arts of China Gallery on October 17. “Cai Quo-Qiang is a master of the poetic on a grand scale,” director of the MFA Houston Peter C. Marzio said in a statement. He added that he believes Cai’s project will foster a “dialogue between artworks from different time periods within the galleries.” Continue reading »

The act of codification that is enshrined in the International Declaration of Human Rights has ensured that the unspeakable has been cut down to size at the very moment that it is protested against.

—Theodor Adorno, Minima Moralia, on the UN General Assembly’s defining of the term “genocide.”

"Voyage of the Doomed" from "They Spoke Out." Courtesy Disney Educational Productions.

This spring marked the launch of an ambitious motion comic series addressing the Holocaust, titled They Spoke Out: American Voices Against the Holocaust. The project, a collaborative effort by comic book artist Neal Adams, Disney Educational Productions, and the David S. Wyman Institute for Holocaust Studies, is a multi-part series, the first volume of which was recently screened by the Museum of Comic and Cartoon Art in New York (and whose initial graphic installments have been made available here). Each episode of this ten-part series aims to chronicle little known stories of heroism by various Americans who spoke out against Fascist extremism or otherwise performed extraordinary acts of bravery, recounting, as the authors of the series put it, the “remarkable stories of Americans of all faiths who raised their voices, marched in protest, or even helped smuggle Jewish refugees out of Hitler’s Europe.”

The mission statement of the series is set forth as follows:

Each year, educators seek new and innovative ways to teach this difficult topic. They Spoke Out: American Voices Against the Holocaust addresses this need by presenting an important but little-known chapter of Holocaust history – and presenting it in a unique and compelling way: through motion comics. Blending the features of comic books, animation, period footage, and photographs, motion comics are the newest, cutting-edge way to entertain and to educate simultaneously.

This graphic project, particularly its artistic strategies and goals as articulated in the above mission statement, inevitably calls to mind and invites comparison to Art Spiegelman’s own two-volume graphic comic project, Maus.  A project engaging with the Holocaust, such as They Spoke Out, also raises the question about artistic strategies of representing traumatic events and historical catastrophe, with the prospect that representing catastrophe is fraught with the risk of diminishing the enormity of the represented event, be it the Holocaust or 9/11. Indeed, as Theodor Adorno suggests in the epigraph, codifying catastrophe carries with it the danger of diminishing the specificity and enormity of the historical event. As Alex Thomson has described it, when representations “become a shorthand way of referring to the event and placing it into the continuum of history as such, then the risk is in normalizing and taming the traumatic singularity of any given catastrophe.” (The problem of representing the Holocaust was a subject explored in the Jewish Museum in New York’s controversial 2002 exhibition Mirroring Evil: Nazi Imagery/Recent Art and one of the reasons for the vocal opposition to the exhibition).

"Rescue Over the Mountains" from "They Spoke Out." Courtesy Disney Educational Productions.

While They Spoke Out and Maus both employ a blend of word, graphic images, diagrams, and documentary photographs, they take decidedly different stances toward the catastrophic past. For unlike the straightforward narratives of various historical figures and events in They Spoke Out, Maus is a complicated and deeply personal tale about Spiegelman’s father’s experience in the Holocaust and the author’s own fraught relationship to that traumatic past. Whereas the stories chronicled in They Spoke Out aim to recover for readers heretofore unheralded or forgotten acts of heroism from the historical past through what is essentially a conventional narrative framework—presenting a kind of narrative fullness, if you will—in Spiegelman’s tale, the reader is confronted with certain gaps and discontinuities, which confound the reader’s own process of meaning production.

Continue reading »

John Baldessari, "Tips for Artists to Sell", 1966-68. Acrylic on canvas, 68 x 56 1/2 in. The Broad Foundation, Santa Monica. © 2009 John Baldessari. Photo courtesy of The Broad Art Foundation, Santa Monica.

In this week’s roundup you’ll read about a retrospective in the Golden State, a pack of wolves in Singapore, a dreamy gift in Berlin, de-monumentalisation in Italy, Oprah culture the world over, some fresh high-tops at Bloomingdale’s, and much more:

• The traveling retrospective exhibition, John Baldessari: Pure Beauty, has opened at the Los Angeles County Museum of Art (LACMA). This is the only West Coast showing and features the greatest number of works (more than 150) of any venue on the show’s tour. “Pure Beauty,” says Leslie Jones, LACMA associate curator of prints and drawings, “explores Baldessari’s lifelong interest in language and mass media culture, which seems increasingly relevant — even imperative — in an era of information and image proliferation.” Beginning with his little-known paintings from the early 1960s, the exhibition features the landmark photo and text works from 1966-68, photo-compositions derived from films stills of the 1980s, irregularly shaped and over-painted works of the 1990s, as well as video and artist books. The show concludes with recent works by Baldessari (Season 5), including a special multimedia installation conceived for the retrospective. Pure Beauty closes September 12 at LACMA, and will then travel to The Metropolitan Museum of Art.

• On the occasion of Pure Beauty, Baldessari (working with the art media company ForYourArt) has created an iPad application that lets users rearrange a 17th-century Dutch still-life painting by Abraham van Beyeren. The painting, titled Banquet Still Life, is held in LACMA’s collection. According to the LA Times, Baldessari did another version of the project nine years ago. Learn more about the application at Artinfo.com.

• Stylus, a new project by Ann Hamilton (Season 1), opens at the Pulitzer Foundation for the Arts on July 9. Hamilton’s installation was conceived as both “a sanctuary for listening and a laboratory for experiments in collective vocal exercises.” The installation asks the following questions: How do we communicate? What external forces act upon or inhibit our collective need for social contact and response? How are relationships enacted (or not enacted) by the architectural spaces we inhabit? Go behind the scenes of the installation by visiting the Pulitzer’s blog.

• Head On — a massive installation of 99 life-sized wolves — was created by Cai Guo-Qiang (Season 3) for his solo exhibition at the Deutsche Guggenheim Berlin in 2006. It is now on view at the National Museum of Singapore. Via the museum: “Seen from afar, the leaping wolf pack forms an arc full of force and power, their fierce courage and spirit of warrior camaraderie seemingly serving as a reminder to people: humanity is easily blinded by a kind of collective mentality and action, and is destined to repeat such error to an almost unbelievable degree. The crux of this installation lies just before the glass wall, as the artist reminds people: invisible walls are the hardest to dismantle.” The second and third parts of this installation, Illusion II and Vortex, are also on view. Closes August 31.

• Works by Cai Guo-Qiang (Season 3), and Paul McCarthy (Season 5) are included in the fourteenth edition of the International Sculpture Biennale of Carrara, Italy. The theme of this edition is the “radical process of de-monumentalisation which has freed sculpture from any celebratory, encomiastic function.” Browse the artist roster here. The biennale closes October 31.

• Text/Weave/Line—Video, 1977-2010, an exhibition of works by Beryl Korot (Season 1), has opened at The Aldrich Contemporary Art Museum. This marks the artist’s most extensive museum project by  to date, featuring six never-before-seen works. Her new pieces reflect an ongoing interest in how our communication tools mirror the way we present and receive information. Among the works on view are Korot’s multi-channel video work, Text and Commentary, which premiered at Leo Castelli Gallery in 1977. Curator Harry Philbrick points out, “Korot was the co-founder and co-editor of the ground-breaking 1970s publication Radical Software, the first magazine to explore the notion of alternative communication systems and formats for conveying information. Today, when new media is an imperative in our connected world, she continues to create fresh work that illuminates the structure of communication.” Continues through January 2, 2011.

• Dream Passage is the first major retrospective exhibition of works by Season 1 artist Bruce Nauman to be staged in Berlin. Presented by the Hamburger Bahnhof Museum für Gegenwart, the exhibition celebrates a new gift to the museum from collector Friedrich Christian Flick: Nauman’s Room with My Soul Left Out, Room That Does Not Care (1984). This “architectural sculpture” has been installed in collaboration with the artist and will now be on permanent display. Other examples of Nauman’s “experience architecture,” also on view, include Corridor Installation (Nick Wilder Installation) (1970), where visitors are recorded by a video camera and then confronted with their own image; and Kassel Corridor: Elliptical Space (1972), created for Documenta 5. Dream Passage closes October 10.

Continue reading »

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Episode #107: Beryl Korot narrates the process of creating one of the first multi-channel works of video art — Dachau, 1974 — a haunting document of tourists visiting the notorious Nazi concentration camp.

An early video-art pioneer and an internationally exhibited artist, Beryl Korot’s multiple-channel (and multiple-monitor) video installation works explored the relationship between programming tools as diverse as the technology of the loom and multiple-channel video. For most of the 1980s, Korot concentrated on a series of paintings that were based on a language she created that was an analogue to the Latin alphabet. Drawing on her earlier interest in weaving and video as related technologies, she made most of these paintings on hand-woven and traditional linen canvas. More recently, she has collaborated with her husband, the composer Steve Reich, on Three Tales, a documentary digital video opera in three acts that explores the way technology creates and frames our experience.

The exhibition Beryl Korot: Text/Weave/Line—Video, 1977-2010 opens at the Aldrich Contemporary Art Museum on June 27th. The exhibition presents her latest body of work as well as the 5 channel weaving/video installation Text and Commentary which premiered at the Leo Castelli Gallery in 1977.

Beryl Korot created the opening segment, featuring actress S. Epatha Merkerson, in the Season 1 (2001) episode Spirituality of the Art:21—Art in the Twenty-First Century television series on PBS. Watch the full episode online at PBS Video and Hulu, or purchase it for download from iTunes.

VIDEO | Producer: Wesley Miller & Nick Ravich. Interview: Wesley Miller. Camera & Sound: Nick Ravich. Editor: Joaquin Perez. Artwork Courtesy: Beryl Korot.