http://www.richardkraft.net/pages-from-a-yiddish-primer daily 0.75 2014-11-21 https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416609522921-S576HXP3TSMN1RYC4TL7/alef_2_grey.jpg Pages From a Yiddish Primer https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416609522921-S576HXP3TSMN1RYC4TL7/alef_2_grey.jpg Pages From a Yiddish Primer https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416609538669-I2Z07VV7XPQCM2J3VP93/bris_grey.jpg Pages From a Yiddish Primer https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416609565463-2J6S49U5W7Y7QSPNR0SD/chutzpah_grey.jpg Pages From a Yiddish Primer https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416609650043-Z8CPU9GHM9Z4ENZSRAVJ/drek-2_grey.jpg Pages From a Yiddish Primer https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416609667857-Q4CDNZEM72US1LQH1I1B/emes_grey.jpg Pages From a Yiddish Primer https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416609687857-99H2Q0SQW903P8C598BZ/gelt_grey.jpg Pages From a Yiddish Primer https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416609704576-HSUV1391X0XJ1Y45H51Q/hendl_grey.jpg Pages From a Yiddish Primer https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416609716210-1ZAWIMXF9RXCN0TJEIGF/knish_grey.jpg Pages From a Yiddish Primer https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416609729608-DSNHMJ0LG2GQU1KOZ1L8/nebbish_grey.jpg Pages From a Yiddish Primer https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416609741368-SKQBBLGT4LBELBC6SHRO/Odler_grey.jpg Pages From a Yiddish Primer https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416609757346-XDVH2G7W2BWU7YVG04RI/rebbe_grey.jpg Pages From a Yiddish Primer https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416609769916-KPIRNIOWISQWR91MMPZP/shtup_grey.jpg Pages From a Yiddish Primer https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416609781174-CMN65YBT1BTJQXJL7RKF/toches-2_grey.jpg Pages From a Yiddish Primer https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416609793745-ORZG68W8VHCZ37R3K9TM/traaif_grey.jpg Pages From a Yiddish Primer https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416609806925-7M9T4XTEF51D7Y2KZON3/vund-b_grey.jpg Pages From a Yiddish Primer https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416609818547-N3H078T566TOWYQ3PRMJ/zhlob.jpg Pages From a Yiddish Primer https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416609932499-52A7DWDIX770X2BGYHFC/5x8grid_alphabeticalorder.jpg Pages From a Yiddish Primer http://www.richardkraft.net/totems daily 0.75 2014-11-23 https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416438255839-BP6I6NWDSKTOMHZC7TU6/orangelady.jpg Totems - Untitled (Totem, No. 1) https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416438255839-BP6I6NWDSKTOMHZC7TU6/orangelady.jpg Totems - Untitled (Totem, No. 1) https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416438282409-0CC6IBLFFBFT7I6ENZRA/deer.jpg Totems - Untitled (Totem, No. 10) https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416438277869-SZK2E6APTWQ0A7HBUEUB/chubbyboy.jpg Totems - Untitled (Totem, No. 3) https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416438293419-93ZU1W7A5DX9C1C8XO6V/fox-cropped-blurred.jpg Totems - Untitled (Totem, No. 7) https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416438314148-70QM4T3VPSKCQ2JDPMUJ/youngman-morespace.jpg Totems - Untitled (Totem, No. 2) https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416438305478-UKZ7A4AI9GR1TIS4W2GQ/monkey-blurred-sm.jpg Totems - Untitled (Totem, No. 11) https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416438329937-YKX9ZHD8IMMFJGP8KTVL/brownbear.jpg Totems - Untitled (Totem, No. 9) http://www.richardkraft.net/flag-sail-wing daily 0.75 2019-11-10 https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1573314194232-OBQNXZ744YF2P9DH61KB/01+Kraft+Wing.jpg Flag Sail Wing - Wing, 2019, 60"x180 “Wing”—made of over 50 comics and texts—evokes a universe, traversing history and the human imagination. It is populated by real, mythological and fictional characters: Adam & Eve, Buddha, Parvati, Hitler, Showa-Tenno, Gandhi, Martin Luther King Jr., Romeo & Juliet, Kake, Supergirl, Akira, Eazy-E . . . https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1573314194232-OBQNXZ744YF2P9DH61KB/01+Kraft+Wing.jpg Flag Sail Wing - Wing, 2019, 60"x180 “Wing”—made of over 50 comics and texts—evokes a universe, traversing history and the human imagination. It is populated by real, mythological and fictional characters: Adam & Eve, Buddha, Parvati, Hitler, Showa-Tenno, Gandhi, Martin Luther King Jr., Romeo & Juliet, Kake, Supergirl, Akira, Eazy-E . . . https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1573314222958-S1PXV1K19A8OJPLQ3VHS/02+Kraft+Wing+%28detail%29.jpg Flag Sail Wing - Wing, 2019 (detail) “Wing”—made of over 50 comics and texts—evokes a universe, traversing history and the human imagination. It is populated by real, mythological and fictional characters: Adam & Eve, Buddha, Parvati, Hitler, Showa-Tenno, Gandhi, Martin Luther King Jr., Romeo & Juliet, Kake, Supergirl, Akira, Eazy-E . . . https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1573314238887-J2LAYR4NY8Y09C6A0TBQ/03+Kraft+Wing+%28detail%29.jpg Flag Sail Wing - Wing, 2019 (detail) “Wing”—made of over 50 comics and texts—evokes a universe, traversing history and the human imagination. It is populated by real, mythological and fictional characters: Adam & Eve, Buddha, Parvati, Hitler, Showa-Tenno, Gandhi, Martin Luther King Jr., Romeo & Juliet, Kake, Supergirl, Akira, Eazy-E . . . https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1573314277387-RI9OC6OLNZSEAXIYDVA2/04+Kraft+Wing+%28detail%29.jpg Flag Sail Wing - Wing, 2019 (detail) “Wing”—made of over 50 comics and texts—evokes a universe, traversing history and the human imagination. It is populated by real, mythological and fictional characters: Adam & Eve, Buddha, Parvati, Hitler, Showa-Tenno, Gandhi, Martin Luther King Jr., Romeo & Juliet, Kake, Supergirl, Akira, Eazy-E . . . https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1573314285431-2K1Y72B1DNBMQ4DCFWXI/05+Kraft+Wing+%28detail%29.jpg Flag Sail Wing - Wing, 2019 (detail) “Wing”—made of over 50 comics and texts—evokes a universe, traversing history and the human imagination. It is populated by real, mythological and fictional characters: Adam & Eve, Buddha, Parvati, Hitler, Showa-Tenno, Gandhi, Martin Luther King Jr., Romeo & Juliet, Kake, Supergirl, Akira, Eazy-E . . . https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1573314343967-U0SCNC7RT85GN1XIIJ4K/06+Kraft+Flag.jpg Flag Sail Wing - Flag, 2019, 84"x120" “Flag” comprises two panels which subvert the idea of a single, unerring version of American history: on the left, Howard Zinn’s “People’s History of the United States,” and on the right, numerous Classics Illustrated comics narrating U.S. history and iconic American literary works. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1573314352212-FPGUD4G91BK7E13J03Q4/07+Kraft+Flag+%28detail%29-2.jpg Flag Sail Wing - Flag, 2019 (detail) “Flag” comprises two panels which subvert the idea of a single, unerring version of American history: on the left, Howard Zinn’s “People’s History of the United States,” and on the right, numerous Classics Illustrated comics narrating U.S. history and iconic American literary works. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1573314361308-JX3S33F8BZV0Y4UK91BJ/08+Kraft+Flag+%28detail%29.jpg Flag Sail Wing - Flag, 2019 (detail) “Flag” comprises two panels which subvert the idea of a single, unerring version of American history: on the left, Howard Zinn’s “People’s History of the United States,” and on the right, numerous Classics Illustrated comics narrating U.S. history and iconic American literary works. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1573314367272-6CDMFNO1ZU6CGZF17FIK/09+Kraft+Flag+%28detail%29.jpg Flag Sail Wing - Flag, 2019 (detail) “Flag” comprises two panels which subvert the idea of a single, unerring version of American history: on the left, Howard Zinn’s “People’s History of the United States,” and on the right, numerous Classics Illustrated comics narrating U.S. history and iconic American literary works. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1573314372344-08C19B3415WLDNV7LU5X/10+Kraft+Flag+%28detail%29.jpg Flag Sail Wing - Flag, 2019 (detail) “Flag” comprises two panels which subvert the idea of a single, unerring version of American history: on the left, Howard Zinn’s “People’s History of the United States,” and on the right, numerous Classics Illustrated comics narrating U.S. history and iconic American literary works. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1573314632628-MIFOMY30SW48RAOBEH17/15+Kraft+After+Homer+%28Iliad-Odyssey%29.jpg Flag Sail Wing - After Homer (Iliad-Odyssey), 2018, 30"x44" “After Homer (Iliad-Odyssey)” is composed of two panels. The left side is Homer’s “Odyssey,” and the right is “The Illiad,” both made of fragments from Classics Illustrated comic books. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1573314639857-IHD0AV8U3BN60EBROCJV/16+Kraft+After+Homer+%28Iliad-Odyssey%29+detail.jpg Flag Sail Wing - After Homer (Iliad-Odyssey), 2018 (detail) “After Homer (Iliad-Odyssey)” is composed of two panels. The left side is Homer’s “Odyssey,” and the right is “The Illiad,” both made of fragments from Classics Illustrated comic books. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1573314644458-8UC7D9TUCS506QIVO2IA/17+Kraft+After+Homer+%28Iliad-Odyssey%29+detail.jpg Flag Sail Wing - After Homer (Iliad-Odyssey), 2018 (detail) “After Homer (Iliad-Odyssey)” is composed of two panels. The left side is Homer’s “Odyssey,” and the right is “The Illiad,” both made of fragments from Classics Illustrated comic books. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1573315128622-QA75QHOGH7NJBYRIT48J/11+Kraft+Sail_.jpg Flag Sail Wing - Sail, 2018, 84"x60" Sail is made up of fragments from 30 Wonder Woman comics. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1573315134570-B4X45A01O0I03HV3X35Q/12+Kraft+Sail+%28detail%29.jpg Flag Sail Wing https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1573315140676-411NJNJ8XDGA0NRXS8QT/13+Kraft+Sail+%28detail%29.jpg Flag Sail Wing - Sail, 2018 (detail) Sail is made up of fragments from 30 Wonder Woman comics. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1573315144613-7IT0LK0W1CFL5W7C2M4O/14+Kraft+Sail+%28detail%29.jpg Flag Sail Wing - Sail, 2018 (detail) Sail is made up of fragments from 30 Wonder Woman comics. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416451119145-SYOXB83B2FMD5OSCVY6P/Richard+Kraft_Ulysses_cropped_sharp%2850%29+copy.jpg Flag Sail Wing - Untitled (Ulysses), 60"x90" A collage of the entire book of Ulysses, byJames Joyce. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416451604405-7LL36GFL69Z9BE9W3PWR/Richard_Kraft_Ulysses_detail_1_sharp%2850%29.jpg Flag Sail Wing - Untitled (Ulysses), detail A collage of the entire book of Ulysses, byJames Joyce. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1571448780066-PWK5ERMN8C8ZFPVEIFVI/Wing_Final.jpg Flag Sail Wing - Wing, 2019, 60"x180" https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416452326841-HTSNPHD0I894K6XIB9H9/Richard+Kraft_Ulysses_Detail_2_sharp%2850%29+copy.jpg Flag Sail Wing - Untitled (Ulysses), detail A collage of the entire book of Ulysses, byJames Joyce. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416452359582-E4730RVZ4JZBVPGWAADG/photo+2.JPG Flag Sail Wing - Skeleton of book used for Untitled (Ulysses) https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1551393696955-5GRTO5DJOR21MAYTIKV3/Flag_1.jpg Flag Sail Wing - Flag, 2019, 84"x120" The left hand side of Flag is the complete text of Howard Zinn’s People’s History of the United States. The right side is made up of fragments from numerous Classics Illustrated comics. Some of these (The Oregon Trail, Abraham Lincoln, Benjamin Franklin, The Rough Rider) recount alternate (more traditional) versions of American history. Also included are Classics Illustrated comics of various iconic American literary works, for example, Huckleberry Finn, Uncle Tom’s Cabin, White Fang, The Red Badge of Courage and The House of Seven Gables to name a few. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416452397481-S2NPGH31LS0A7L2V6SNE/Richard+Kraft+Let%27s+Look+Around.jpg Flag Sail Wing - Untitled (Let's Look Around), 31"x23" A collage of a section of the children's book, Let's Look Around. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416452448251-H1MMTXCO7FQXQZ9BCYHC/Richard+Kraft+Let%27s+Look+Around+Detail.jpg Flag Sail Wing - Untitled (Let's Look Around), detail A collage of a section of the children's book, Let's Look Around. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1551215447807-Y8MVZSWQPP5LC1S3OJGT/Flag_1.jpg Flag Sail Wing - Flag The left hand side of Flag is the complete text of Howard Zinn’s People’s History of the United States. The right side is made up of fragments from numerous Classics Illustrated comics. Some of these (The Oregon Trail, Abraham Lincoln, Benjamin Franklin, The Rough Rider) recount alternate (more traditional) versions of American history. Also included are Classics Illustrated comics of various iconic American literary works, for example, Huckleberry Finn, Uncle Tom’s Cabin, White Fang, The Red Badge of Courage and The House of Seven Gables to name a few. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416452625380-RHT448VZJEA6I5QB6IXM/Richard_Kraft_Untitled_%28After+Maupassant%29_4_CMYK.jpg Flag Sail Wing - Untitled (After Maupassant, No. 4), 3.5"x2.5" https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416452575814-J0EP267UY54CYRQ1G2CM/Richard_Kraft_Untitled_%28After+Maupassant%29_3.jpg Flag Sail Wing - Untitled (After Maupassant, No. 3), 3.5"x2.5" https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416452538125-8T0GEK34SV191KA0BA2A/Richard_Kraft_Untitled_%28After+Maupassant%29_2.jpg Flag Sail Wing - Untitled (After Maupassant, No. 2), 3.5"x2.5" https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416452490791-5Q31UCVANEBD7XVQ3VU8/Richard_Kraft_Untitled_%28After+Maupassant%29_1_CMYK.jpg Flag Sail Wing - Untitled (After Maupassant, No. 1), 3.5"x2.5" http://www.richardkraft.net/studies-for-100-walkers-west-hollywood daily 0.75 2017-11-03 https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1421776861997-FL03OKEB5TO8RLD6PVST/1.jpg Studies for 100 Walkers, West Hollywood - Untitled (Pole Vault) Cast resin, inkjet prints, ribbon. 8"x2.5"x2/25", Edition of 10 https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1421776861997-FL03OKEB5TO8RLD6PVST/1.jpg Studies for 100 Walkers, West Hollywood - Untitled (Pole Vault) Cast resin, inkjet prints, ribbon. 8"x2.5"x2/25", Edition of 10 https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1421776889980-6I9AKX6P6DO5ARS9CEND/4.jpg Studies for 100 Walkers, West Hollywood - Untitled (Hubble) Cast resin, inkjet prints, ribbon. 8"x2.5"x2/25", Edition of 10 https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1421776913462-B8XYFYO0ZO24QCM0YOHA/7.jpg Studies for 100 Walkers, West Hollywood - Untitled (Laser Eyes) Cast resin, inkjet prints, ribbon. 8"x2.5"x2/25", Edition of 10 https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1421776931123-COYIPIP39RLDA3D8RWYF/10.jpg Studies for 100 Walkers, West Hollywood - Untitled (The People Adore Authority) Cast resin, inkjet prints, ribbon. 8"x2.5"x2/25", Edition of 10 https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1421777330240-C1336YFZSS9GE3NX5X3E/35.jpg Studies for 100 Walkers, West Hollywood - Untitled (Andrei Sakharov) Cast resin, inkjet prints, ribbon. 8"x2.5"x2/25", Edition of 10 https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1421776983645-Q4628PPCCUE2A244BO02/13.jpg Studies for 100 Walkers, West Hollywood - Untitled (Alchemy) Cast resin, inkjet prints, ribbon. 8"x2.5"x2/25", Edition of 10 https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1421776951901-WAOKSKUFDXQKMX35ZIM3/11.jpg Studies for 100 Walkers, West Hollywood - Untitled (Pacific) Cast resin, inkjet prints, ribbon. 8"x2.5"x2/25", Edition of 10 https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1421777039481-FGWHHK3UBZZZ4GNO1OJM/16.jpg Studies for 100 Walkers, West Hollywood - Untitled (Gaza) Cast resin, inkjet prints, ribbon. 8"x2.5"x2/25", Edition of 10 https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1421777011893-PQ9DYRD4N7U0C1OZTKON/15.jpg Studies for 100 Walkers, West Hollywood - Untitled (Missile) Cast resin, inkjet prints, ribbon. 8"x2.5"x2/25", Edition of 10 https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1421777070984-LO6Y4Z3LA2BP7HHGDSG8/17.jpg Studies for 100 Walkers, West Hollywood - Untitled (POW) Cast resin, inkjet prints, ribbon. 8"x2.5"x2/25", Edition of 10 https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1421777099339-87652ZBO7KLIWTOL3Y5X/19.jpg Studies for 100 Walkers, West Hollywood - Untitled (Stonewall) Cast resin, inkjet prints, ribbon. 8"x2.5"x2/25", Edition of 10 https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1421777132497-88SEMC55KSUQZIWCLMCC/21.jpg Studies for 100 Walkers, West Hollywood - Untitled (David Kato) Cast resin, inkjet prints, ribbon. 8"x2.5"x2/25", Edition of 10 https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1421777156920-GK42EBV1D1DDEHCERMHK/25.jpg Studies for 100 Walkers, West Hollywood - Untitled (George Washington) Cast resin, inkjet prints, ribbon. 8"x2.5"x2/25", Edition of 10 https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1421777277699-U7DEIFJ9DEAWKYHUPNQ5/34.jpg Studies for 100 Walkers, West Hollywood - Untitled (Eye) Cast resin, inkjet prints, ribbon. 8"x2.5"x2/25", Edition of 10 https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1421777178728-HM13NFQQZBIUNN43CD0E/27.jpg Studies for 100 Walkers, West Hollywood - Untitled (Vortex) Cast resin, inkjet prints, ribbon. 8"x2.5"x2/25", Edition of 10 https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1421777197636-28U17DCIMDQM385AIXD2/28.jpg Studies for 100 Walkers, West Hollywood - Untitled (I Must Tell the Flowers, I Must Tell the Trees) Cast resin, inkjet prints, ribbon. 8"x2.5"x2/25", Edition of 10 https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1421777225129-6OR3L068JBQUZ82VIEXB/29.jpg Studies for 100 Walkers, West Hollywood - Untitled (Rabbit) Cast resin, inkjet prints, ribbon. 8"x2.5"x2/25", Edition of 10 https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1421777252379-PPFRJWC3T56TOC2UAX2K/30.jpg Studies for 100 Walkers, West Hollywood - Untitled (Memling) Cast resin, inkjet prints, ribbon. 8"x2.5"x2/25", Edition of 10 http://www.richardkraft.net/tube-portraits-1 daily 0.75 2014-11-19 https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416435875665-ZG0R3ZPUOJTAIIA5A5I1/18.jpg Tube Portraits - Untitled (Tube Portrait, No. 18) These unmediated portraits (made on the London Underground) exist in multiple iterations, as both video portraits and works on paper. Each video portrait lasts as long as the person being filmed remained on the train. They range from approximately two to five minutes. Inspired by Walker Evans’ book of photographs Many Are Called, the Tube Portraits capture moments during which people—simply sitting and waiting en route from one place to another—reveal something strangely private and naked in this very public space. The still images have been made as both large scale inkjet prints, and as a "stamp" edition, in which 100 miniature portraits have been printed with perforation marks and assigned numeric values. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416435875665-ZG0R3ZPUOJTAIIA5A5I1/18.jpg Tube Portraits - Untitled (Tube Portrait, No. 18) These unmediated portraits (made on the London Underground) exist in multiple iterations, as both video portraits and works on paper. Each video portrait lasts as long as the person being filmed remained on the train. They range from approximately two to five minutes. Inspired by Walker Evans’ book of photographs Many Are Called, the Tube Portraits capture moments during which people—simply sitting and waiting en route from one place to another—reveal something strangely private and naked in this very public space. The still images have been made as both large scale inkjet prints, and as a "stamp" edition, in which 100 miniature portraits have been printed with perforation marks and assigned numeric values. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416436222038-2C73XKSLXFPD8MDBE4RQ/31.jpg Tube Portraits - Untitled (Tube Portrait, No. 31) These unmediated portraits (made on the London Underground) exist in multiple iterations, as both video portraits and works on paper. Each video portrait lasts as long as the person being filmed remained on the train. They range from approximately two to five minutes. Inspired by Walker Evans’ book of photographs Many Are Called, the Tube Portraits capture moments during which people—simply sitting and waiting en route from one place to another—reveal something strangely private and naked in this very public space. The still images have been made as both large scale inkjet prints, and as a "stamp" edition, in which 100 miniature portraits have been printed with perforation marks and assigned numeric values. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416436510363-I1QZZYCLZZ3SN6HRT9HO/30.jpg Tube Portraits - Untitled (Tube Portrait, No. 30) These unmediated portraits (made on the London Underground) exist in multiple iterations, as both video portraits and works on paper. Each video portrait lasts as long as the person being filmed remained on the train. They range from approximately two to five minutes. Inspired by Walker Evans’ book of photographs Many Are Called, the Tube Portraits capture moments during which people—simply sitting and waiting en route from one place to another—reveal something strangely private and naked in this very public space. The still images have been made as both large scale inkjet prints, and as a "stamp" edition, in which 100 miniature portraits have been printed with perforation marks and assigned numeric values. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416436608320-6V0S4E0VCX6GMD5GYFTN/33.jpg Tube Portraits - Untitled (Tube Portrait, No. 33) These unmediated portraits (made on the London Underground) exist in multiple iterations, as both video portraits and works on paper. Each video portrait lasts as long as the person being filmed remained on the train. They range from approximately two to five minutes. Inspired by Walker Evans’ book of photographs Many Are Called, the Tube Portraits capture moments during which people—simply sitting and waiting en route from one place to another—reveal something strangely private and naked in this very public space. The still images have been made as both large scale inkjet prints, and as a "stamp" edition, in which 100 miniature portraits have been printed with perforation marks and assigned numeric values. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416436646637-1QZEKVI5BE1GF9Q423HY/38.jpg Tube Portraits - Untitled (Tube Portrait, No. 38) These unmediated portraits (made on the London Underground) exist in multiple iterations, as both video portraits and works on paper. Each video portrait lasts as long as the person being filmed remained on the train. They range from approximately two to five minutes. Inspired by Walker Evans’ book of photographs Many Are Called, the Tube Portraits capture moments during which people—simply sitting and waiting en route from one place to another—reveal something strangely private and naked in this very public space. The still images have been made as both large scale inkjet prints, and as a "stamp" edition, in which 100 miniature portraits have been printed with perforation marks and assigned numeric values. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416436673134-QZDQK7DG6ARAZAM38A4B/16.jpg Tube Portraits - Untitled (Tube Portrait, No. 16) These unmediated portraits (made on the London Underground) exist in multiple iterations, as both video portraits and works on paper. Each video portrait lasts as long as the person being filmed remained on the train. They range from approximately two to five minutes. Inspired by Walker Evans’ book of photographs Many Are Called, the Tube Portraits capture moments during which people—simply sitting and waiting en route from one place to another—reveal something strangely private and naked in this very public space. The still images have been made as both large scale inkjet prints, and as a "stamp" edition, in which 100 miniature portraits have been printed with perforation marks and assigned numeric values. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416436703541-KRWO9LCRFKZQM6WM90Q0/11.jpg Tube Portraits - Untitled (Tube Portrait, No. 11) These unmediated portraits (made on the London Underground) exist in multiple iterations, as both video portraits and works on paper. Each video portrait lasts as long as the person being filmed remained on the train. They range from approximately two to five minutes. Inspired by Walker Evans’ book of photographs Many Are Called, the Tube Portraits capture moments during which people—simply sitting and waiting en route from one place to another—reveal something strangely private and naked in this very public space. The still images have been made as both large scale inkjet prints, and as a "stamp" edition, in which 100 miniature portraits have been printed with perforation marks and assigned numeric values. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416436730133-FLDRQNFQWWHU2G0PFFY6/20.jpg Tube Portraits - Untitled (Tube Portrait, No. 20) These unmediated portraits (made on the London Underground) exist in multiple iterations, as both video portraits and works on paper. Each video portrait lasts as long as the person being filmed remained on the train. They range from approximately two to five minutes. Inspired by Walker Evans’ book of photographs Many Are Called, the Tube Portraits capture moments during which people—simply sitting and waiting en route from one place to another—reveal something strangely private and naked in this very public space. The still images have been made as both large scale inkjet prints, and as a "stamp" edition, in which 100 miniature portraits have been printed with perforation marks and assigned numeric values. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416436758168-RD2D4TMPX1BSFG04GMK1/29.jpg Tube Portraits - Untitled (Tube Portrait, No. 29) These unmediated portraits (made on the London Underground) exist in multiple iterations, as both video portraits and works on paper. Each video portrait lasts as long as the person being filmed remained on the train. They range from approximately two to five minutes. Inspired by Walker Evans’ book of photographs Many Are Called, the Tube Portraits capture moments during which people—simply sitting and waiting en route from one place to another—reveal something strangely private and naked in this very public space. The still images have been made as both large scale inkjet prints, and as a "stamp" edition, in which 100 miniature portraits have been printed with perforation marks and assigned numeric values. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416436786698-R1KAW7OQSIDZRLGLDDDN/14.jpg Tube Portraits - Untitled (Tube Portrait, No. 14) These unmediated portraits (made on the London Underground) exist in multiple iterations, as both video portraits and works on paper. Each video portrait lasts as long as the person being filmed remained on the train. They range from approximately two to five minutes. Inspired by Walker Evans’ book of photographs Many Are Called, the Tube Portraits capture moments during which people—simply sitting and waiting en route from one place to another—reveal something strangely private and naked in this very public space. The still images have been made as both large scale inkjet prints, and as a "stamp" edition, in which 100 miniature portraits have been printed with perforation marks and assigned numeric values. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416436810875-0R6L7CIN40IT7ISZ4L2N/1.jpg Tube Portraits - Untitled (Tube Portrait, No. 1) These unmediated portraits (made on the London Underground) exist in multiple iterations, as both video portraits and works on paper. Each video portrait lasts as long as the person being filmed remained on the train. They range from approximately two to five minutes. Inspired by Walker Evans’ book of photographs Many Are Called, the Tube Portraits capture moments during which people—simply sitting and waiting en route from one place to another—reveal something strangely private and naked in this very public space. The still images have been made as both large scale inkjet prints, and as a "stamp" edition, in which 100 miniature portraits have been printed with perforation marks and assigned numeric values. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416436842666-737W9Q8RHAG8GVUTUA3K/22.jpg Tube Portraits - Untitled (Tube Portrait, No. 22) These unmediated portraits (made on the London Underground) exist in multiple iterations, as both video portraits and works on paper. Each video portrait lasts as long as the person being filmed remained on the train. They range from approximately two to five minutes. Inspired by Walker Evans’ book of photographs Many Are Called, the Tube Portraits capture moments during which people—simply sitting and waiting en route from one place to another—reveal something strangely private and naked in this very public space. The still images have been made as both large scale inkjet prints, and as a "stamp" edition, in which 100 miniature portraits have been printed with perforation marks and assigned numeric values. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416437132401-5DX2MOGG1X7QOCN1MNNX/_DSC4317.jpg Tube Portraits - Tube Portraits, Installation view These unmediated portraits (made on the London Underground) exist in multiple iterations, as both video portraits and works on paper. Each video portrait lasts as long as the person being filmed remained on the train. They range from approximately two to five minutes. Inspired by Walker Evans’ book of photographs Many Are Called, the Tube Portraits capture moments during which people—simply sitting and waiting en route from one place to another—reveal something strangely private and naked in this very public space. The still images have been made as both large scale inkjet prints, and as a "stamp" edition, in which 100 miniature portraits have been printed with perforation marks and assigned numeric values. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416437149721-HUV0Z5C2B36OMAK6R7Y7/_DSC4326.jpg Tube Portraits - Tube Portraits, Installation view These unmediated portraits (made on the London Underground) exist in multiple iterations, as both video portraits and works on paper. Each video portrait lasts as long as the person being filmed remained on the train. They range from approximately two to five minutes. Inspired by Walker Evans’ book of photographs Many Are Called, the Tube Portraits capture moments during which people—simply sitting and waiting en route from one place to another—reveal something strangely private and naked in this very public space. The still images have been made as both large scale inkjet prints, and as a "stamp" edition, in which 100 miniature portraits have been printed with perforation marks and assigned numeric values. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416437224347-5T1LXGIIDMLHXIZ3KV2V/_DSC4328.jpg Tube Portraits - Tube Portraits, Installation view These unmediated portraits (made on the London Underground) exist in multiple iterations, as both video portraits and works on paper. Each video portrait lasts as long as the person being filmed remained on the train. They range from approximately two to five minutes. Inspired by Walker Evans’ book of photographs Many Are Called, the Tube Portraits capture moments during which people—simply sitting and waiting en route from one place to another—reveal something strangely private and naked in this very public space. The still images have been made as both large scale inkjet prints, and as a "stamp" edition, in which 100 miniature portraits have been printed with perforation marks and assigned numeric values. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416437233676-YF5VOTJOCNYBMRLKJEJO/_DSC4333.jpg Tube Portraits - Tube Portraits, Installation view These unmediated portraits (made on the London Underground) exist in multiple iterations, as both video portraits and works on paper. Each video portrait lasts as long as the person being filmed remained on the train. They range from approximately two to five minutes. Inspired by Walker Evans’ book of photographs Many Are Called, the Tube Portraits capture moments during which people—simply sitting and waiting en route from one place to another—reveal something strangely private and naked in this very public space. The still images have been made as both large scale inkjet prints, and as a "stamp" edition, in which 100 miniature portraits have been printed with perforation marks and assigned numeric values. http://www.richardkraft.net/here-comes-kitty-a-comic-opera daily 0.75 2017-06-26 https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1418087394691-954EE4VJDM0X9417N8TW/wholepiece.jpg Here Comes Kitty: A Comic Opera - Here Comes Kitty: A Comic Opera (Wall-mounted version, 96"x140") Here Comes Kitty: A Comic Opera, Siglio Press, April 2015, with interpolations by Danielle Dutton and a conversation with Ann Lauterbach. From the publisher's press release: "In this wildly irreverent collage narrative, Los Angeles artist Richard Kraft reassembles a pre perestroika era comic about a Polish spy infiltrating the Nazis to orchestrate a multiplicity of voices into joyous cacophony. Like an Indian miniature painting, each comic book page is densely layered, collapsing foreground and background, breaking the frame and merging time. An unlikely and enormous cast of characters emerges as Kraft appropriates images and texts from an extraordinary variety of sources (the Amar Chitra Katha comics of Hindu mythology, Jimmy Swaggart’s Old and New Testament stories, the 1960s English football annual Scorcher , and underground comics like Cherryas well as outdated encyclopedias, old primers, art history and more). Proceeding from Thoreau’s observation, “Yes and No are lies. A true answer will not aim to establish anything, but rather to set all well afloat,” Kraft subverts all certainty to reconstruct a world constantly in flux, rich with dark humor and its own revelatory nonsense. Author Danielle Dutton’s set of sixteen interpolations punctuate the book using similar strategies of appropriation and juxtaposition to create texts that sing in the same arresting register as Kraft’s collages. Here Comes Kitty also includes a wide-ranging conversation between Kraft and poet Ann Lauterbach." https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416619508942-UCTMCUDTEFDXNW1MAR5N/Kitty_page_2_3.jpg Here Comes Kitty: A Comic Opera - Here Comes Kitty: A Comic Opera Here Comes Kitty: A Comic Opera, Siglio Press, April 2015, with interpolations by Danielle Dutton and a conversation with Ann Lauterbach. From the publisher's press release: "In this wildly irreverent collage narrative, Los Angeles artist Richard Kraft reassembles a pre perestroika era comic about a Polish spy infiltrating the Nazis to orchestrate a multiplicity of voices into joyous cacophony. Like an Indian miniature painting, each comic book page is densely layered, collapsing foreground and background, breaking the frame and merging time. An unlikely and enormous cast of characters emerges as Kraft appropriates images and texts from an extraordinary variety of sources (the Amar Chitra Katha comics of Hindu mythology, Jimmy Swaggart’s Old and New Testament stories, the 1960s English football annual Scorcher , and underground comics like Cherryas well as outdated encyclopedias, old primers, art history and more). Proceeding from Thoreau’s observation, “Yes and No are lies. A true answer will not aim to establish anything, but rather to set all well afloat,” Kraft subverts all certainty to reconstruct a world constantly in flux, rich with dark humor and its own revelatory nonsense. Author Danielle Dutton’s set of sixteen interpolations punctuate the book using similar strategies of appropriation and juxtaposition to create texts that sing in the same arresting register as Kraft’s collages. Here Comes Kitty also includes a wide-ranging conversation between Kraft and poet Ann Lauterbach." https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416448168940-R0RLKV842IKOCW3GZQDA/Kitty_page_1.jpg Here Comes Kitty: A Comic Opera - Here Comes Kitty: A Comic Opera Here Comes Kitty: A Comic Opera, forthcoming from Siglio Press, April 2015, with interpolations by Danielle Dutton and a conversation with Ann Lauterbach. From the publisher's press release: "In this wildly irreverent collage narrative, Los Angeles artist Richard Kraft reassembles a pre perestroika era comic about a Polish spy infiltrating the Nazis to orchestrate a multiplicity of voices into joyous cacophony. Like an Indian miniature painting, each comic book page is densely layered, collapsing foreground and background, breaking the frame and merging time. An unlikely and enormous cast of characters emerges as Kraft appropriates images and texts from an extraordinary variety of sources (the Amar Chitra Katha comics of Hindu mythology, Jimmy Swaggart’s Old and New Testament stories, the 1960s English football annual Scorcher , and underground comics like Cherry as well as outdated encyclopedias, old primers, art history and more). Proceeding from Thoreau’s observation, “Yes and No are lies. A true answer will not aim to establish anything, but rather to set all well afloat,” Kraft subverts all certainty to reconstruct a world constantly in flux, rich with dark humor and its own revelatory nonsense. Author Danielle Dutton’s set of sixteen interpolations punctuate the book using similar strategies of appropriation and juxtaposition to create texts that sing in the same arresting register as Kraft’s collages. Here Comes Kitty also includes a wide-ranging conversation between Kraft and poet Ann Lauterbach." https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416619539504-ZNR4LJ85OLRKN1BV1I4L/Kitty_page_10_11.jpg Here Comes Kitty: A Comic Opera - Here Comes Kitty: A Comic Opera Here Comes Kitty: A Comic Opera, Siglio Press, April 2015, with interpolations by Danielle Dutton and a conversation with Ann Lauterbach. From the publisher's press release: "In this wildly irreverent collage narrative, Los Angeles artist Richard Kraft reassembles a pre perestroika era comic about a Polish spy infiltrating the Nazis to orchestrate a multiplicity of voices into joyous cacophony. Like an Indian miniature painting, each comic book page is densely layered, collapsing foreground and background, breaking the frame and merging time. An unlikely and enormous cast of characters emerges as Kraft appropriates images and texts from an extraordinary variety of sources (the Amar Chitra Katha comics of Hindu mythology, Jimmy Swaggart’s Old and New Testament stories, the 1960s English football annual Scorcher , and underground comics like Cherryas well as outdated encyclopedias, old primers, art history and more). Proceeding from Thoreau’s observation, “Yes and No are lies. A true answer will not aim to establish anything, but rather to set all well afloat,” Kraft subverts all certainty to reconstruct a world constantly in flux, rich with dark humor and its own revelatory nonsense. Author Danielle Dutton’s set of sixteen interpolations punctuate the book using similar strategies of appropriation and juxtaposition to create texts that sing in the same arresting register as Kraft’s collages. Here Comes Kitty also includes a wide-ranging conversation between Kraft and poet Ann Lauterbach." https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416619570410-0Z43OG0BOC9INC6TVGEO/Kitty_page_20_21.jpg Here Comes Kitty: A Comic Opera - Here Comes Kitty: A Comic Opera Here Comes Kitty: A Comic Opera, Siglio Press, April 2015, with interpolations by Danielle Dutton and a conversation with Ann Lauterbach. From the publisher's press release: "In this wildly irreverent collage narrative, Los Angeles artist Richard Kraft reassembles a pre perestroika era comic about a Polish spy infiltrating the Nazis to orchestrate a multiplicity of voices into joyous cacophony. Like an Indian miniature painting, each comic book page is densely layered, collapsing foreground and background, breaking the frame and merging time. An unlikely and enormous cast of characters emerges as Kraft appropriates images and texts from an extraordinary variety of sources (the Amar Chitra Katha comics of Hindu mythology, Jimmy Swaggart’s Old and New Testament stories, the 1960s English football annual Scorcher , and underground comics like Cherryas well as outdated encyclopedias, old primers, art history and more). Proceeding from Thoreau’s observation, “Yes and No are lies. A true answer will not aim to establish anything, but rather to set all well afloat,” Kraft subverts all certainty to reconstruct a world constantly in flux, rich with dark humor and its own revelatory nonsense. Author Danielle Dutton’s set of sixteen interpolations punctuate the book using similar strategies of appropriation and juxtaposition to create texts that sing in the same arresting register as Kraft’s collages. Here Comes Kitty also includes a wide-ranging conversation between Kraft and poet Ann Lauterbach." https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416619617075-QK9PR36UOM3P9LN1UX6B/Kitty_page_26_27.jpg Here Comes Kitty: A Comic Opera - Here Comes Kitty: A Comic Opera Here Comes Kitty: A Comic Opera, Siglio Press, April 2015, with interpolations by Danielle Dutton and a conversation with Ann Lauterbach. From the publisher's press release: "In this wildly irreverent collage narrative, Los Angeles artist Richard Kraft reassembles a pre perestroika era comic about a Polish spy infiltrating the Nazis to orchestrate a multiplicity of voices into joyous cacophony. Like an Indian miniature painting, each comic book page is densely layered, collapsing foreground and background, breaking the frame and merging time. An unlikely and enormous cast of characters emerges as Kraft appropriates images and texts from an extraordinary variety of sources (the Amar Chitra Katha comics of Hindu mythology, Jimmy Swaggart’s Old and New Testament stories, the 1960s English football annual Scorcher , and underground comics like Cherryas well as outdated encyclopedias, old primers, art history and more). Proceeding from Thoreau’s observation, “Yes and No are lies. A true answer will not aim to establish anything, but rather to set all well afloat,” Kraft subverts all certainty to reconstruct a world constantly in flux, rich with dark humor and its own revelatory nonsense. Author Danielle Dutton’s set of sixteen interpolations punctuate the book using similar strategies of appropriation and juxtaposition to create texts that sing in the same arresting register as Kraft’s collages. Here Comes Kitty also includes a wide-ranging conversation between Kraft and poet Ann Lauterbach." https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416619641778-QVVJ8Q642FLWCZD27NAJ/Kitty_page_28_29.jpg Here Comes Kitty: A Comic Opera - Here Comes Kitty: A Comic Opera Here Comes Kitty: A Comic Opera, Siglio Press, April 2015, with interpolations by Danielle Dutton and a conversation with Ann Lauterbach. From the publisher's press release: "In this wildly irreverent collage narrative, Los Angeles artist Richard Kraft reassembles a pre perestroika era comic about a Polish spy infiltrating the Nazis to orchestrate a multiplicity of voices into joyous cacophony. Like an Indian miniature painting, each comic book page is densely layered, collapsing foreground and background, breaking the frame and merging time. An unlikely and enormous cast of characters emerges as Kraft appropriates images and texts from an extraordinary variety of sources (the Amar Chitra Katha comics of Hindu mythology, Jimmy Swaggart’s Old and New Testament stories, the 1960s English football annual Scorcher , and underground comics like Cherryas well as outdated encyclopedias, old primers, art history and more). Proceeding from Thoreau’s observation, “Yes and No are lies. A true answer will not aim to establish anything, but rather to set all well afloat,” Kraft subverts all certainty to reconstruct a world constantly in flux, rich with dark humor and its own revelatory nonsense. Author Danielle Dutton’s set of sixteen interpolations punctuate the book using similar strategies of appropriation and juxtaposition to create texts that sing in the same arresting register as Kraft’s collages. Here Comes Kitty also includes a wide-ranging conversation between Kraft and poet Ann Lauterbach." https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416448839621-PF8BI45WMBIIUQ1OZK5A/Here_Comes_Kitty.jpg Here Comes Kitty: A Comic Opera http://www.richardkraft.net/twelve-walkers-wendover daily 0.75 2014-11-20 https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416455476862-XB78PMRJK8W0KKF8TTYR/_MG_6513.jpg Twelve Walkers, Wendover - Twelve Walkers, Wendover 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Twelve Walkers, Wendover was performed in May, 2012 on the site of the Wendover Air Force Base in Wendover, Utah. The piece was performed by: Christina Avalos, Quincy Darbyshire, Luis de Roux, Helena Groves, Grace Hale, Maeve Hoyt, Julia Loman, David Morales, Mitch Oliver, Elise Sokolowski, Courtney Springer, William Wylie. Photographs by Lisa Pearson https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416455476862-XB78PMRJK8W0KKF8TTYR/_MG_6513.jpg Twelve Walkers, Wendover - Twelve Walkers, Wendover 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Twelve Walkers, Wendover was performed in May, 2012 on the site of the Wendover Air Force Base in Wendover, Utah. The piece was performed by: Christina Avalos, Quincy Darbyshire, Luis de Roux, Helena Groves, Grace Hale, Maeve Hoyt, Julia Loman, David Morales, Mitch Oliver, Elise Sokolowski, Courtney Springer, William Wylie. Photographs by Lisa Pearson https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416455499225-K7XYGWT0NLZ7DKGADHZ9/_MG_6486_alt.jpg Twelve Walkers, Wendover - Twelve Walkers, Wendover 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Twelve Walkers, Wendover was performed in May, 2012 on the site of the Wendover Air Force Base in Wendover, Utah. The piece was performed by: Christina Avalos, Quincy Darbyshire, Luis de Roux, Helena Groves, Grace Hale, Maeve Hoyt, Julia Loman, David Morales, Mitch Oliver, Elise Sokolowski, Courtney Springer, William Wylie. Photographs by Lisa Pearson https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416455539775-120OY22VNTD6YF2NDH9J/_MG_6496.jpg Twelve Walkers, Wendover - Twelve Walkers, Wendover 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Twelve Walkers, Wendover was performed in May, 2012 on the site of the Wendover Air Force Base in Wendover, Utah. The piece was performed by: Christina Avalos, Quincy Darbyshire, Luis de Roux, Helena Groves, Grace Hale, Maeve Hoyt, Julia Loman, David Morales, Mitch Oliver, Elise Sokolowski, Courtney Springer, William Wylie. Photographs by Lisa Pearson https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416455557714-ARS6CAMAN7OX0LGA66Z5/_MG_6502.jpg Twelve Walkers, Wendover - Twelve Walkers, Wendover 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Twelve Walkers, Wendover was performed in May, 2012 on the site of the Wendover Air Force Base in Wendover, Utah. The piece was performed by: Christina Avalos, Quincy Darbyshire, Luis de Roux, Helena Groves, Grace Hale, Maeve Hoyt, Julia Loman, David Morales, Mitch Oliver, Elise Sokolowski, Courtney Springer, William Wylie. Photographs by Lisa Pearson https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416455577818-FXZFL9JGKVMWXGPFXXI8/_MG_6481.jpg Twelve Walkers, Wendover - Twelve Walkers, Wendover 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Twelve Walkers, Wendover was performed in May, 2012 on the site of the Wendover Air Force Base in Wendover, Utah. The piece was performed by: Christina Avalos, Quincy Darbyshire, Luis de Roux, Helena Groves, Grace Hale, Maeve Hoyt, Julia Loman, David Morales, Mitch Oliver, Elise Sokolowski, Courtney Springer, William Wylie. Photographs by Lisa Pearson https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416455600269-GWNMGZSM8RG981K4IR17/_MG_6523.jpg Twelve Walkers, Wendover - Twelve Walkers, Wendover 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Twelve Walkers, Wendover was performed in May, 2012 on the site of the Wendover Air Force Base in Wendover, Utah. The piece was performed by: Christina Avalos, Quincy Darbyshire, Luis de Roux, Helena Groves, Grace Hale, Maeve Hoyt, Julia Loman, David Morales, Mitch Oliver, Elise Sokolowski, Courtney Springer, William Wylie. Photographs by Lisa Pearson https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416455619945-G5OI1ENOJI1Q6A5PIAQI/_MG_6526.jpg Twelve Walkers, Wendover - Twelve Walkers, Wendover 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Twelve Walkers, Wendover was performed in May, 2012 on the site of the Wendover Air Force Base in Wendover, Utah. The piece was performed by: Christina Avalos, Quincy Darbyshire, Luis de Roux, Helena Groves, Grace Hale, Maeve Hoyt, Julia Loman, David Morales, Mitch Oliver, Elise Sokolowski, Courtney Springer, William Wylie. Photographs by Lisa Pearson https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416455659441-TF4M0LB7BM1PB5TQVYH2/_MG_6535.jpg Twelve Walkers, Wendover - Twelve Walkers, Wendover 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Twelve Walkers, Wendover was performed in May, 2012 on the site of the Wendover Air Force Base in Wendover, Utah. The piece was performed by: Christina Avalos, Quincy Darbyshire, Luis de Roux, Helena Groves, Grace Hale, Maeve Hoyt, Julia Loman, David Morales, Mitch Oliver, Elise Sokolowski, Courtney Springer, William Wylie. Photographs by Lisa Pearson https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416455680736-YD6PRQ5FMKSOLOUYHN2F/_MG_6551.jpg Twelve Walkers, Wendover - Twelve Walkers, Wendover 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Twelve Walkers, Wendover was performed in May, 2012 on the site of the Wendover Air Force Base in Wendover, Utah. The piece was performed by: Christina Avalos, Quincy Darbyshire, Luis de Roux, Helena Groves, Grace Hale, Maeve Hoyt, Julia Loman, David Morales, Mitch Oliver, Elise Sokolowski, Courtney Springer, William Wylie. Photographs by Lisa Pearson https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416455698444-A6Q40WPZVMQ6THPZ3F9S/_MG_6556.jpg Twelve Walkers, Wendover - Twelve Walkers, Wendover 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Twelve Walkers, Wendover was performed in May, 2012 on the site of the Wendover Air Force Base in Wendover, Utah. The piece was performed by: Christina Avalos, Quincy Darbyshire, Luis de Roux, Helena Groves, Grace Hale, Maeve Hoyt, Julia Loman, David Morales, Mitch Oliver, Elise Sokolowski, Courtney Springer, William Wylie. Photographs by Lisa Pearson https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416455728695-FEUX4AIW4BXV6ADXQC4G/_MG_6566.jpg Twelve Walkers, Wendover - Twelve Walkers, Wendover 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Twelve Walkers, Wendover was performed in May, 2012 on the site of the Wendover Air Force Base in Wendover, Utah. The piece was performed by: Christina Avalos, Quincy Darbyshire, Luis de Roux, Helena Groves, Grace Hale, Maeve Hoyt, Julia Loman, David Morales, Mitch Oliver, Elise Sokolowski, Courtney Springer, William Wylie. Photographs by Lisa Pearson https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416455751264-S92LUQYFIGOWC5A1XS2A/_MG_6570.jpg Twelve Walkers, Wendover - Twelve Walkers, Wendover 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Twelve Walkers, Wendover was performed in May, 2012 on the site of the Wendover Air Force Base in Wendover, Utah. The piece was performed by: Christina Avalos, Quincy Darbyshire, Luis de Roux, Helena Groves, Grace Hale, Maeve Hoyt, Julia Loman, David Morales, Mitch Oliver, Elise Sokolowski, Courtney Springer, William Wylie. Photographs by Lisa Pearson https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416455772552-GVQ3163VM3EI8IN79VFU/_MG_6594.jpg Twelve Walkers, Wendover - Twelve Walkers, Wendover 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Twelve Walkers, Wendover was performed in May, 2012 on the site of the Wendover Air Force Base in Wendover, Utah. The piece was performed by: Christina Avalos, Quincy Darbyshire, Luis de Roux, Helena Groves, Grace Hale, Maeve Hoyt, Julia Loman, David Morales, Mitch Oliver, Elise Sokolowski, Courtney Springer, William Wylie. Photographs by Lisa Pearson https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416455801238-W0DLIGT72GVK2TQ1YQFB/_MG_6585.jpg Twelve Walkers, Wendover - Twelve Walkers, Wendover 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Twelve Walkers, Wendover was performed in May, 2012 on the site of the Wendover Air Force Base in Wendover, Utah. The piece was performed by: Christina Avalos, Quincy Darbyshire, Luis de Roux, Helena Groves, Grace Hale, Maeve Hoyt, Julia Loman, David Morales, Mitch Oliver, Elise Sokolowski, Courtney Springer, William Wylie. Photographs by Lisa Pearson https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416455836135-33QZLUQM3N63KP23CLG5/_MG_6553.jpg Twelve Walkers, Wendover - Twelve Walkers, Wendover 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Twelve Walkers, Wendover was performed in May, 2012 on the site of the Wendover Air Force Base in Wendover, Utah. The piece was performed by: Christina Avalos, Quincy Darbyshire, Luis de Roux, Helena Groves, Grace Hale, Maeve Hoyt, Julia Loman, David Morales, Mitch Oliver, Elise Sokolowski, Courtney Springer, William Wylie. Photographs by Lisa Pearson https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416455857515-X4TVDBPZEWXBBRHGI4QA/_MG_6608.jpg Twelve Walkers, Wendover - Twelve Walkers, Wendover 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Twelve Walkers, Wendover was performed in May, 2012 on the site of the Wendover Air Force Base in Wendover, Utah. The piece was performed by: Christina Avalos, Quincy Darbyshire, Luis de Roux, Helena Groves, Grace Hale, Maeve Hoyt, Julia Loman, David Morales, Mitch Oliver, Elise Sokolowski, Courtney Springer, William Wylie. Photographs by Lisa Pearson https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416455875175-M0GFOJBMQOERIKEG0YXS/_MG_6609.jpg Twelve Walkers, Wendover - Twelve Walkers, Wendover 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Twelve Walkers, Wendover was performed in May, 2012 on the site of the Wendover Air Force Base in Wendover, Utah. The piece was performed by: Christina Avalos, Quincy Darbyshire, Luis de Roux, Helena Groves, Grace Hale, Maeve Hoyt, Julia Loman, David Morales, Mitch Oliver, Elise Sokolowski, Courtney Springer, William Wylie. Photographs by Lisa Pearson http://www.richardkraft.net/las-vegas-walk daily 0.75 2014-11-20 https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416456732480-BGD9PKTT5YVII7N8SJPN/_MG_2789.jpg Las Vegas Walk - Las Vegas Walk 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Las Vegas Walk was performed by Richard Kraft in January, 2011. Photographs by Lisa Pearson. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416456732480-BGD9PKTT5YVII7N8SJPN/_MG_2789.jpg Las Vegas Walk - Las Vegas Walk 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Las Vegas Walk was performed by Richard Kraft in January, 2011. Photographs by Lisa Pearson. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416456756669-ORT3C3C6D0PUWTGD5HKM/_MG_3077.jpg Las Vegas Walk - Las Vegas Walk 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Las Vegas Walk was performed by Richard Kraft in January, 2011. Photographs by Lisa Pearson. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416456774150-SDGTIMQGEVJ5ACGFDOQY/_MG_3005.jpg Las Vegas Walk - Las Vegas Walk 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Las Vegas Walk was performed by Richard Kraft in January, 2011. Photographs by Lisa Pearson. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416456803536-GCI09S9FPAPU5LXHPRCP/_MG_3516.jpg Las Vegas Walk - Las Vegas Walk 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Las Vegas Walk was performed by Richard Kraft in January, 2011. Photographs by Lisa Pearson. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416456888345-7POVU1FCY1QKDB3ZX3RZ/_MG_3729.jpg Las Vegas Walk - Las Vegas Walk 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Las Vegas Walk was performed by Richard Kraft in January, 2011. Photographs by Lisa Pearson. http://www.richardkraft.net/business-cards daily 0.75 2017-11-03 https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416619122614-PR9M4GSOGTIFYRLP7O96/bobbydazzler.jpg Business Cards - Untitled, (Bobby Dazzler) Cards handed out during performance of 100 Walkers, West Hollywood. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416619122614-PR9M4GSOGTIFYRLP7O96/bobbydazzler.jpg Business Cards - Untitled, (Bobby Dazzler) Cards handed out during performance of 100 Walkers, West Hollywood. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416619136436-051FCHG5K420QL2QL30N/brusselsprout.jpg Business Cards - Untitled, (Brussel Sprout) Cards handed out during performance of 100 Walkers, West Hollywood. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416619148356-TBDKR0OY7BH4GPSCWZ8E/finch.jpg Business Cards - Untitled, (Finch) Cards handed out during performance of 100 Walkers, West Hollywood. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416619160515-JHVPUL7I7OSPPUSOKKVJ/cretin.jpg Business Cards - Untitled, (Cretin) Cards handed out during performance of 100 Walkers, West Hollywood. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416619170206-VHVWDVCUPNV73NOWKDGG/murmur.jpg Business Cards - Untitled, (Murmur) Cards handed out during performance of 100 Walkers, West Hollywood. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416619180519-QDLHUDPGULCWRM48EU1G/priest.jpg Business Cards - Untitled, (Priest) Cards handed out during performance of 100 Walkers, West Hollywood. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416619197049-CL0YBSESBWHGWLX02ZAK/prunepicker.jpg Business Cards - Untitled, (Prune Picker) Cards handed out during performance of 100 Walkers, West Hollywood. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416619209215-ZPSDRKAFGJFLJQWIMRPY/serf.jpg Business Cards - Untitled, (Serf) Cards handed out during performance of 100 Walkers, West Hollywood. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416619220468-FV6IOYSYPKJHD7PG3247/topsail.jpg Business Cards - Untitled, (Top Sail) Cards handed out during performance of 100 Walkers, West Hollywood. http://www.richardkraft.net/tube-portraits-stamp-edition daily 0.75 2014-11-22 https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416437436540-DKQ70DD62ZRRAEFAQ593/Richard+Kraft+Basement+Full+1_sharp%2875%29.jpg Tube Portraits (Stamp Edition) - Tube Portraits (Stamp Edition), Installation view These unmediated portraits (made on the London Underground) exist in multiple iterations, as both video portraits and works on paper. Each video portrait lasts as long as the person being filmed remained on the train. They range from approximately two to five minutes. Inspired by Walker Evans’ book of photographs Many Are Called, the Tube Portraits capture moments during which people—simply sitting and waiting en route from one place to another—reveal something strangely private and naked in this very public space. The still images have been made as both large scale inkjet prints, and as a "stamp" edition, in which 100 miniature portraits have been printed with perforation marks and assigned numeric values. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416437436540-DKQ70DD62ZRRAEFAQ593/Richard+Kraft+Basement+Full+1_sharp%2875%29.jpg Tube Portraits (Stamp Edition) - Tube Portraits (Stamp Edition), Installation view These unmediated portraits (made on the London Underground) exist in multiple iterations, as both video portraits and works on paper. Each video portrait lasts as long as the person being filmed remained on the train. They range from approximately two to five minutes. Inspired by Walker Evans’ book of photographs Many Are Called, the Tube Portraits capture moments during which people—simply sitting and waiting en route from one place to another—reveal something strangely private and naked in this very public space. The still images have been made as both large scale inkjet prints, and as a "stamp" edition, in which 100 miniature portraits have been printed with perforation marks and assigned numeric values. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416612619008-DSILX58J6B7ZYEB2GX0V/Kraft_Tube_Portraits_Stamp_Edition_10_grey.jpg Tube Portraits (Stamp Edition) - Tube Portrait (Stamp Edition) These unmediated portraits (made on the London Underground) exist in multiple iterations, as both video portraits and works on paper. Each video portrait lasts as long as the person being filmed remained on the train. They range from approximately two to five minutes. Inspired by Walker Evans’ book of photographs Many Are Called, the Tube Portraits capture moments during which people—simply sitting and waiting en route from one place to another—reveal something strangely private and naked in this very public space. The still images have been made as both large scale inkjet prints, and as a "stamp" edition, in which 100 miniature portraits have been printed with perforation marks and assigned numeric values. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416612666047-390N09415C31L1QQMUNW/Kraft_Tube_Portraits_Stamp_Edition_9.jpg Tube Portraits (Stamp Edition) - Tube Portraits (Stamp Edition) These unmediated portraits (made on the London Underground) exist in multiple iterations, as both video portraits and works on paper. Each video portrait lasts as long as the person being filmed remained on the train. They range from approximately two to five minutes. Inspired by Walker Evans’ book of photographs Many Are Called, the Tube Portraits capture moments during which people—simply sitting and waiting en route from one place to another—reveal something strangely private and naked in this very public space. The still images have been made as both large scale inkjet prints, and as a "stamp" edition, in which 100 miniature portraits have been printed with perforation marks and assigned numeric values. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416612689539-4RI07513C6LCM3RBWHHH/Kraft_Tube_Portraits_Stamp_Edition_7.jpg Tube Portraits (Stamp Edition) - Tube Portraits (Stamp Edition) These unmediated portraits (made on the London Underground) exist in multiple iterations, as both video portraits and works on paper. Each video portrait lasts as long as the person being filmed remained on the train. They range from approximately two to five minutes. Inspired by Walker Evans’ book of photographs Many Are Called, the Tube Portraits capture moments during which people—simply sitting and waiting en route from one place to another—reveal something strangely private and naked in this very public space. The still images have been made as both large scale inkjet prints, and as a "stamp" edition, in which 100 miniature portraits have been printed with perforation marks and assigned numeric values. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416612716472-JRQMUZ3YTJALA52RVY77/Kraft_Tube_Portraits_Stamp_Edition_8.jpg Tube Portraits (Stamp Edition) - Tube Portraits (Stamp Edition) These unmediated portraits (made on the London Underground) exist in multiple iterations, as both video portraits and works on paper. Each video portrait lasts as long as the person being filmed remained on the train. They range from approximately two to five minutes. Inspired by Walker Evans’ book of photographs Many Are Called, the Tube Portraits capture moments during which people—simply sitting and waiting en route from one place to another—reveal something strangely private and naked in this very public space. The still images have been made as both large scale inkjet prints, and as a "stamp" edition, in which 100 miniature portraits have been printed with perforation marks and assigned numeric values. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416612993469-6DBIG9LUMD50QQO8AV2T/Kraft_Tube_Portraits_Stamp_Edition_6.jpg Tube Portraits (Stamp Edition) - Tube Portraits (Stamp Edition) These unmediated portraits (made on the London Underground) exist in multiple iterations, as both video portraits and works on paper. Each video portrait lasts as long as the person being filmed remained on the train. They range from approximately two to five minutes. Inspired by Walker Evans’ book of photographs Many Are Called, the Tube Portraits capture moments during which people—simply sitting and waiting en route from one place to another—reveal something strangely private and naked in this very public space. The still images have been made as both large scale inkjet prints, and as a "stamp" edition, in which 100 miniature portraits have been printed with perforation marks and assigned numeric values. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416612727955-13GCY4U63GDDDIT4WLYY/Kraft_Tube_Portraits_Stamp_Edition_5.jpg Tube Portraits (Stamp Edition) - Tube Portraits (Stamp Edition) These unmediated portraits (made on the London Underground) exist in multiple iterations, as both video portraits and works on paper. Each video portrait lasts as long as the person being filmed remained on the train. They range from approximately two to five minutes. Inspired by Walker Evans’ book of photographs Many Are Called, the Tube Portraits capture moments during which people—simply sitting and waiting en route from one place to another—reveal something strangely private and naked in this very public space. The still images have been made as both large scale inkjet prints, and as a "stamp" edition, in which 100 miniature portraits have been printed with perforation marks and assigned numeric values. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416612737064-WB8YN6I953MZ7RKLT0P9/Kraft_Tube_Portraits_Stamp_Edition_3.jpg Tube Portraits (Stamp Edition) - Tube Portraits (Stamp Edition) These unmediated portraits (made on the London Underground) exist in multiple iterations, as both video portraits and works on paper. Each video portrait lasts as long as the person being filmed remained on the train. They range from approximately two to five minutes. Inspired by Walker Evans’ book of photographs Many Are Called, the Tube Portraits capture moments during which people—simply sitting and waiting en route from one place to another—reveal something strangely private and naked in this very public space. The still images have been made as both large scale inkjet prints, and as a "stamp" edition, in which 100 miniature portraits have been printed with perforation marks and assigned numeric values. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416613011564-LREHHR72S6EMELRUNF8A/Kraft_Tube_Portraits_Stamp_Edition_1.jpg Tube Portraits (Stamp Edition) - Tube Portraits (Stamp Edition) These unmediated portraits (made on the London Underground) exist in multiple iterations, as both video portraits and works on paper. Each video portrait lasts as long as the person being filmed remained on the train. They range from approximately two to five minutes. Inspired by Walker Evans’ book of photographs Many Are Called, the Tube Portraits capture moments during which people—simply sitting and waiting en route from one place to another—reveal something strangely private and naked in this very public space. The still images have been made as both large scale inkjet prints, and as a "stamp" edition, in which 100 miniature portraits have been printed with perforation marks and assigned numeric values. http://www.richardkraft.net/postcard-collages daily 0.75 2017-11-03 https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1497384235363-1YWQPB0S5M9PGX6F8QN0/_DSC8226_sharp%2850%29.jpg Postcard Collages https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1497384235363-1YWQPB0S5M9PGX6F8QN0/_DSC8226_sharp%2850%29.jpg Postcard Collages https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416450221610-63LAQ6T4SHWRTFU1UY23/conturbatio069_2.jpg Postcard Collages https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1497384174977-959Q39EN68FK1I28TWXZ/_DSC8205_sharp%2850%29.jpg Postcard Collages https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416450016976-E5EEHE1SFU1CU9GQ9S9K/conturbatio017_2.jpg Postcard Collages https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416450043267-R7EYCOOT1H6AUYLT3RED/_DSC5532.jpg Postcard Collages https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416450093883-NZIY2GJ884V7QZUM3AR2/_DSC5526.jpg Postcard Collages https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1497384158615-ERNV4FIPPT36O098KWN1/_DSC8202_sharp%2850%29.jpg Postcard Collages https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1497384190868-OM3CTW77R3BRTHU6E477/_DSC8207_sharp%2850%29.jpg Postcard Collages https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1497384129672-J7I8OW1H377TK5G0SSEY/_DSC8196_sharp%2850%29.jpg Postcard Collages https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1497384207702-33J7TZUTBD1F9DCZQWZ8/_DSC8210_sharp%2850%29.jpg Postcard Collages https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1497384263343-Y974BFL453ES9ECIJTNS/_DSC8227_sharp%2850%29.jpg Postcard Collages http://www.richardkraft.net/death-valley-walk daily 0.75 2014-11-20 https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416456394513-AGTJKWAUKIX900U1ACG2/_MG_3894.jpg Death Valley Walk - Death Valley Walk 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Death Valley Walk was performed by Richard Kraft in January, 2011. Photographs by Lisa Pearson. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416456394513-AGTJKWAUKIX900U1ACG2/_MG_3894.jpg Death Valley Walk - Death Valley Walk 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Death Valley Walk was performed by Richard Kraft in January, 2011. Photographs by Lisa Pearson. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416456515260-KA2Z1MG51J1PMWFMZNME/_MG_3984_sharp%2850%29.jpg Death Valley Walk - Death Valley Walk 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Death Valley Walk was performed by Richard Kraft in January, 2011. Photographs by Lisa Pearson. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416456540054-0VRKXNFI123KAUIOVMBD/_MG_3909.jpg Death Valley Walk - Death Valley Walk 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Death Valley Walk was performed by Richard Kraft in January, 2011. Photographs by Lisa Pearson. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416456559680-311B28UF6R0QKZ1H0ZBK/_MG_3930.jpg Death Valley Walk - Death Valley Walk 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Death Valley Walk was performed by Richard Kraft in January, 2011. Photographs by Lisa Pearson. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416456594959-WZLIA14HFMLXY4E0X0FV/_MG_4008.jpg Death Valley Walk - Death Valley Walk 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Death Valley Walk was performed by Richard Kraft in January, 2011. Photographs by Lisa Pearson. http://www.richardkraft.net/two-walkers-los-angeles daily 0.75 2014-11-20 https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416456137897-N9X1JGZHII0925L7OKU7/7.jpg Two Walkers, Los Angeles - Two Walkers, Los Angeles 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Two Walkers, Los Angeles was performed by Joseph Biel and Richard Kraft in April, 2010. Photographs by Lisa Pearson and Kyle Riedel. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416456137897-N9X1JGZHII0925L7OKU7/7.jpg Two Walkers, Los Angeles - Two Walkers, Los Angeles 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Two Walkers, Los Angeles was performed by Joseph Biel and Richard Kraft in April, 2010. Photographs by Lisa Pearson and Kyle Riedel. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416456164176-BYBVA7LQW86OTRCQQ56O/8.jpg Two Walkers, Los Angeles - Two Walkers, Los Angeles 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Two Walkers, Los Angeles was performed by Joseph Biel and Richard Kraft in April, 2010. Photographs by Lisa Pearson and Kyle Riedel. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416456183707-VQ32EH04B17R1WEFJIKF/6.jpg Two Walkers, Los Angeles - Two Walkers, Los Angeles 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Two Walkers, Los Angeles was performed by Joseph Biel and Richard Kraft in April, 2010. Photographs by Lisa Pearson and Kyle Riedel. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416456219620-O5Y1UMIWTJ2L25HDXV1B/5.jpg Two Walkers, Los Angeles - Two Walkers, Los Angeles 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Two Walkers, Los Angeles was performed by Joseph Biel and Richard Kraft in April, 2010. Photographs by Lisa Pearson and Kyle Riedel. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416456254670-OYH06PODDHA3S3K5C73J/11.jpg Two Walkers, Los Angeles - Two Walkers, Los Angeles 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Two Walkers, Los Angeles was performed by Joseph Biel and Richard Kraft in April, 2010. Photographs by Lisa Pearson and Kyle Riedel. http://www.richardkraft.net/twenty-five-walkers-charlottesville daily 0.75 2014-11-20 https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416454522387-O6QH1FPHP8VMLYNN12F0/L1055339.jpg Twenty-five Walkers, Charlottesville - Twenty-five Walkers, Charlottesville 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Twenty-five Walkers, Charlottesville was performed in Charlottesville, Virginia in October, 2013. The piece was performed by: Jane Angelhart, Constanze Brand, Hannah Chako, Ann Friend Clark, Carey Coleman, Evelina Dubrovskaya, Ian Garnett, Corrine Gordon, Emma Hale, Grace Hale, Sarah Hale, Deirdre Klima, Ana Marie Liddell, Stephen Margulies, David Morales, Jan Willen Musters, Mitchell Oliver, Anne Owen, Rebecca Pearson, Pamela Pecchio, Elise Sokolowski, Roxana Trujillo, Haowei Wang, William Wylie, Hannah Yost. Photographs by Richard Kraft, Lisa Pearson and Dave Woody. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416454522387-O6QH1FPHP8VMLYNN12F0/L1055339.jpg Twenty-five Walkers, Charlottesville - Twenty-five Walkers, Charlottesville 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Twenty-five Walkers, Charlottesville was performed in Charlottesville, Virginia in October, 2013. The piece was performed by: Jane Angelhart, Constanze Brand, Hannah Chako, Ann Friend Clark, Carey Coleman, Evelina Dubrovskaya, Ian Garnett, Corrine Gordon, Emma Hale, Grace Hale, Sarah Hale, Deirdre Klima, Ana Marie Liddell, Stephen Margulies, David Morales, Jan Willen Musters, Mitchell Oliver, Anne Owen, Rebecca Pearson, Pamela Pecchio, Elise Sokolowski, Roxana Trujillo, Haowei Wang, William Wylie, Hannah Yost. Photographs by Richard Kraft, Lisa Pearson and Dave Woody. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416454633356-ME97FWNEADCUJIU5EQ0C/_DSC4395.jpg Twenty-five Walkers, Charlottesville - Twenty-five Walkers, Charlottesville 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Twenty-five Walkers, Charlottesville was performed in Charlottesville, Virginia in October, 2013. The piece was performed by: Jane Angelhart, Constanze Brand, Hannah Chako, Ann Friend Clark, Carey Coleman, Evelina Dubrovskaya, Ian Garnett, Corrine Gordon, Emma Hale, Grace Hale, Sarah Hale, Deirdre Klima, Ana Marie Liddell, Stephen Margulies, David Morales, Jan Willen Musters, Mitchell Oliver, Anne Owen, Rebecca Pearson, Pamela Pecchio, Elise Sokolowski, Roxana Trujillo, Haowei Wang, William Wylie, Hannah Yost. Photographs by Richard Kraft, Lisa Pearson and Dave Woody. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416454746780-T7T64J7TAD1YD332F1HG/_DSC4371.jpg Twenty-five Walkers, Charlottesville - Twenty-five Walkers, Charlottesville 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Twenty-five Walkers, Charlottesville was performed in Charlottesville, Virginia in October, 2013. The piece was performed by: Jane Angelhart, Constanze Brand, Hannah Chako, Ann Friend Clark, Carey Coleman, Evelina Dubrovskaya, Ian Garnett, Corrine Gordon, Emma Hale, Grace Hale, Sarah Hale, Deirdre Klima, Ana Marie Liddell, Stephen Margulies, David Morales, Jan Willen Musters, Mitchell Oliver, Anne Owen, Rebecca Pearson, Pamela Pecchio, Elise Sokolowski, Roxana Trujillo, Haowei Wang, William Wylie, Hannah Yost. Photographs by Richard Kraft, Lisa Pearson and Dave Woody. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416454774058-T1M6IVIC3RBXL0O6KO1A/L1055361.jpg Twenty-five Walkers, Charlottesville - Twenty-five Walkers, Charlottesville 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Twenty-five Walkers, Charlottesville was performed in Charlottesville, Virginia in October, 2013. The piece was performed by: Jane Angelhart, Constanze Brand, Hannah Chako, Ann Friend Clark, Carey Coleman, Evelina Dubrovskaya, Ian Garnett, Corrine Gordon, Emma Hale, Grace Hale, Sarah Hale, Deirdre Klima, Ana Marie Liddell, Stephen Margulies, David Morales, Jan Willen Musters, Mitchell Oliver, Anne Owen, Rebecca Pearson, Pamela Pecchio, Elise Sokolowski, Roxana Trujillo, Haowei Wang, William Wylie, Hannah Yost. Photographs by Richard Kraft, Lisa Pearson and Dave Woody. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416454807361-IOFK7T8UIASV0FW4AQB5/L1055383.jpg Twenty-five Walkers, Charlottesville - Twenty-five Walkers, Charlottesville 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Twenty-five Walkers, Charlottesville was performed in Charlottesville, Virginia in October, 2013. The piece was performed by: Jane Angelhart, Constanze Brand, Hannah Chako, Ann Friend Clark, Carey Coleman, Evelina Dubrovskaya, Ian Garnett, Corrine Gordon, Emma Hale, Grace Hale, Sarah Hale, Deirdre Klima, Ana Marie Liddell, Stephen Margulies, David Morales, Jan Willen Musters, Mitchell Oliver, Anne Owen, Rebecca Pearson, Pamela Pecchio, Elise Sokolowski, Roxana Trujillo, Haowei Wang, William Wylie, Hannah Yost. Photographs by Richard Kraft, Lisa Pearson and Dave Woody. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416454839984-IGJM7V65EBSRIMCNIDU3/_DSC4607_sm.jpg Twenty-five Walkers, Charlottesville - Twenty-five Walkers, Charlottesville 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Twenty-five Walkers, Charlottesville was performed in Charlottesville, Virginia in October, 2013. The piece was performed by: Jane Angelhart, Constanze Brand, Hannah Chako, Ann Friend Clark, Carey Coleman, Evelina Dubrovskaya, Ian Garnett, Corrine Gordon, Emma Hale, Grace Hale, Sarah Hale, Deirdre Klima, Ana Marie Liddell, Stephen Margulies, David Morales, Jan Willen Musters, Mitchell Oliver, Anne Owen, Rebecca Pearson, Pamela Pecchio, Elise Sokolowski, Roxana Trujillo, Haowei Wang, William Wylie, Hannah Yost. Photographs by Richard Kraft, Lisa Pearson and Dave Woody. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416454954966-1I6G51N09CK5VMX210X6/25+Walkers+Cville_20131011_0024.jpg Twenty-five Walkers, Charlottesville - Twenty-five Walkers, Charlottesville 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Twenty-five Walkers, Charlottesville was performed in Charlottesville, Virginia in October, 2013. The piece was performed by: Jane Angelhart, Constanze Brand, Hannah Chako, Ann Friend Clark, Carey Coleman, Evelina Dubrovskaya, Ian Garnett, Corrine Gordon, Emma Hale, Grace Hale, Sarah Hale, Deirdre Klima, Ana Marie Liddell, Stephen Margulies, David Morales, Jan Willen Musters, Mitchell Oliver, Anne Owen, Rebecca Pearson, Pamela Pecchio, Elise Sokolowski, Roxana Trujillo, Haowei Wang, William Wylie, Hannah Yost. Photographs by Richard Kraft, Lisa Pearson and Dave Woody. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416454984179-R2P1NU1SO5JXRDXS8TK3/25+Walkers+Cville_20131011_0198.jpg Twenty-five Walkers, Charlottesville - Twenty-five Walkers, Charlottesville 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Twenty-five Walkers, Charlottesville was performed in Charlottesville, Virginia in October, 2013. The piece was performed by: Jane Angelhart, Constanze Brand, Hannah Chako, Ann Friend Clark, Carey Coleman, Evelina Dubrovskaya, Ian Garnett, Corrine Gordon, Emma Hale, Grace Hale, Sarah Hale, Deirdre Klima, Ana Marie Liddell, Stephen Margulies, David Morales, Jan Willen Musters, Mitchell Oliver, Anne Owen, Rebecca Pearson, Pamela Pecchio, Elise Sokolowski, Roxana Trujillo, Haowei Wang, William Wylie, Hannah Yost. Photographs by Richard Kraft, Lisa Pearson and Dave Woody. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416455014771-NZUG0E7B1117ZN8N3JLK/L1055328.jpg Twenty-five Walkers, Charlottesville - Twenty-five Walkers, Charlottesville 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Twenty-five Walkers, Charlottesville was performed in Charlottesville, Virginia in October, 2013. The piece was performed by: Jane Angelhart, Constanze Brand, Hannah Chako, Ann Friend Clark, Carey Coleman, Evelina Dubrovskaya, Ian Garnett, Corrine Gordon, Emma Hale, Grace Hale, Sarah Hale, Deirdre Klima, Ana Marie Liddell, Stephen Margulies, David Morales, Jan Willen Musters, Mitchell Oliver, Anne Owen, Rebecca Pearson, Pamela Pecchio, Elise Sokolowski, Roxana Trujillo, Haowei Wang, William Wylie, Hannah Yost. Photographs by Richard Kraft, Lisa Pearson and Dave Woody. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416455036673-LXGN1CTWFXS5U990MYHW/L1055347.jpg Twenty-five Walkers, Charlottesville - Twenty-five Walkers, Charlottesville 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Twenty-five Walkers, Charlottesville was performed in Charlottesville, Virginia in October, 2013. The piece was performed by: Jane Angelhart, Constanze Brand, Hannah Chako, Ann Friend Clark, Carey Coleman, Evelina Dubrovskaya, Ian Garnett, Corrine Gordon, Emma Hale, Grace Hale, Sarah Hale, Deirdre Klima, Ana Marie Liddell, Stephen Margulies, David Morales, Jan Willen Musters, Mitchell Oliver, Anne Owen, Rebecca Pearson, Pamela Pecchio, Elise Sokolowski, Roxana Trujillo, Haowei Wang, William Wylie, Hannah Yost. Photographs by Richard Kraft, Lisa Pearson and Dave Woody. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416455073447-QSP5HM8YK91G5U89NQBR/L1055344.jpg Twenty-five Walkers, Charlottesville - Twenty-five Walkers, Charlottesville 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Twenty-five Walkers, Charlottesville was performed in Charlottesville, Virginia in October, 2013. The piece was performed by: Jane Angelhart, Constanze Brand, Hannah Chako, Ann Friend Clark, Carey Coleman, Evelina Dubrovskaya, Ian Garnett, Corrine Gordon, Emma Hale, Grace Hale, Sarah Hale, Deirdre Klima, Ana Marie Liddell, Stephen Margulies, David Morales, Jan Willen Musters, Mitchell Oliver, Anne Owen, Rebecca Pearson, Pamela Pecchio, Elise Sokolowski, Roxana Trujillo, Haowei Wang, William Wylie, Hannah Yost. Photographs by Richard Kraft, Lisa Pearson and Dave Woody. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416455101160-P309AZ3D4F9YQZDJ0VMX/L1055330.jpg Twenty-five Walkers, Charlottesville - Twenty-five Walkers, Charlottesville 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Twenty-five Walkers, Charlottesville was performed in Charlottesville, Virginia in October, 2013. The piece was performed by: Jane Angelhart, Constanze Brand, Hannah Chako, Ann Friend Clark, Carey Coleman, Evelina Dubrovskaya, Ian Garnett, Corrine Gordon, Emma Hale, Grace Hale, Sarah Hale, Deirdre Klima, Ana Marie Liddell, Stephen Margulies, David Morales, Jan Willen Musters, Mitchell Oliver, Anne Owen, Rebecca Pearson, Pamela Pecchio, Elise Sokolowski, Roxana Trujillo, Haowei Wang, William Wylie, Hannah Yost. Photographs by Richard Kraft, Lisa Pearson and Dave Woody. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416455124824-VQBNPLRCLZ8KT638EJ95/L1055348.jpg Twenty-five Walkers, Charlottesville - Twenty-five Walkers, Charlottesville 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Twenty-five Walkers, Charlottesville was performed in Charlottesville, Virginia in October, 2013. The piece was performed by: Jane Angelhart, Constanze Brand, Hannah Chako, Ann Friend Clark, Carey Coleman, Evelina Dubrovskaya, Ian Garnett, Corrine Gordon, Emma Hale, Grace Hale, Sarah Hale, Deirdre Klima, Ana Marie Liddell, Stephen Margulies, David Morales, Jan Willen Musters, Mitchell Oliver, Anne Owen, Rebecca Pearson, Pamela Pecchio, Elise Sokolowski, Roxana Trujillo, Haowei Wang, William Wylie, Hannah Yost. Photographs by Richard Kraft, Lisa Pearson and Dave Woody. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416455149249-JASJ5ANIQ2D0FDSOTO8K/L1055390.jpg Twenty-five Walkers, Charlottesville - Twenty-five Walkers, Charlottesville 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Twenty-five Walkers, Charlottesville was performed in Charlottesville, Virginia in October, 2013. The piece was performed by: Jane Angelhart, Constanze Brand, Hannah Chako, Ann Friend Clark, Carey Coleman, Evelina Dubrovskaya, Ian Garnett, Corrine Gordon, Emma Hale, Grace Hale, Sarah Hale, Deirdre Klima, Ana Marie Liddell, Stephen Margulies, David Morales, Jan Willen Musters, Mitchell Oliver, Anne Owen, Rebecca Pearson, Pamela Pecchio, Elise Sokolowski, Roxana Trujillo, Haowei Wang, William Wylie, Hannah Yost. Photographs by Richard Kraft, Lisa Pearson and Dave Woody. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416457064572-HECDUD3Q649KQF2LH72Q/_DSC4288.jpg Twenty-five Walkers, Charlottesville - Twenty-five Walkers, Charlottesville 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Twenty-five Walkers, Charlottesville was performed in Charlottesville, Virginia in October, 2013. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1416457095851-PAR8I2DBNZAU354A4D85/_DSC4307.jpg Twenty-five Walkers, Charlottesville - Twenty-five Walkers, Charlottesville 100 Walkers is an ongoing series of works that manifest as both actions and gallery installations. Actions have so far been performed in Los Angeles, Las Vegas, Death Valley, Wendover, Utah and Charlottesville, Virginia. In all the actions, walkers wearing unique sandwich boards move through the city or landscape, creating startling incongruities with their surrounding environment. These actions have involved anywhere from one to twenty-five performers. The City of West Hollywood has recently commissioned a version of the piece in which one hundred performers will participate. One Hundred Walkers, West Hollywood will begin with all one hundred walkers assembled in a grid. Slowly dispersing, they will individually walk pre-determined routes through the city, returning finally, to their starting point to end the piece. The sandwich boards draw on various lexica, both visual and verbal, that include street calls, aphorisms, painted hand gestures, imagery from children's books, photographs of the elemental (water, earth, and sky) and a wide variety of portraits. Subverting a form traditionally associated with advertising (whether for a product or an idealogy), the sandwich boards here have nothing to sell. Instead they invite multiple associations and connections. Collectively, the walkers form an unusual army of incongruities and juxtapositions which inject humor, commentary, distortion, as well as glimpses of parallel moments in space and time. Individually, each walker will capture the attention of most passersby (particularly those who are driving) for just a blink, enough to interrupt daily life and shift the viewer's awareness of their world. During each action the performers remain silent. Interaction with inquisitive passers by is confined to the handing out of a business card or flyer. Twenty-five Walkers, Charlottesville was performed in Charlottesville, Virginia in October, 2013. http://www.richardkraft.net/equivalents daily 0.75 2015-03-16 https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1422851361615-MMGHXUSN5LR8Y2H7BOOX/image-asset.jpeg Equivalents - Equivalent (No. 11) The Equivalents are a series of videos made in a single take with a static camera. They are un-manipulated and shown in real time. Conceived as photographs in a continuous process of transformation, they aim to open a contemplative space. They have a relationship to both Alfred Stieglitz's theory of the equivalent and the 'Pataphysical notion of equivalence ("'Pataphysics demonstrates the equivalence of All and Nothing"—Daniel Accursi). Finally, they are attentive to the ways that light and shadow conjure the amorphousness of form and space, constantly altering the perspective of the viewer. *Please note that these videos are designed to be projected. When viewed on a computer monitor, please select "Full Screen" mode. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1422851361615-MMGHXUSN5LR8Y2H7BOOX/image-asset.jpeg Equivalents - Equivalent (No. 11) The Equivalents are a series of videos made in a single take with a static camera. They are un-manipulated and shown in real time. Conceived as photographs in a continuous process of transformation, they aim to open a contemplative space. They have a relationship to both Alfred Stieglitz's theory of the equivalent and the 'Pataphysical notion of equivalence ("'Pataphysics demonstrates the equivalence of All and Nothing"—Daniel Accursi). Finally, they are attentive to the ways that light and shadow conjure the amorphousness of form and space, constantly altering the perspective of the viewer. *Please note that these videos are designed to be projected. When viewed on a computer monitor, please select "Full Screen" mode. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1426529624268-YWCDMK65EQDIORDFVGQZ/image-asset.jpeg Equivalents - Equivalent (No. 14) https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1422851408346-VTAXUX1AW4OG4I9NFF96/image-asset.jpeg Equivalents - Equivalent (No. 2) The Equivalents are a series of videos made in a single take with a static camera. They are un-manipulated and shown in real time. Conceived as photographs in a continuous process of transformation, they aim to open a contemplative space. They have a relationship to both Alfred Stieglitz's theory of the equivalent and the 'Pataphysical notion of equivalence ("'Pataphysics demonstrates the equivalence of All and Nothing"—Daniel Accursi). Finally, they are attentive to the ways that light and shadow conjure the amorphousness of form and space, constantly altering the perspective of the viewer. The Equivalents are a series of videos made in a single take with a static camera. Conceived as photographs in a continuous process of transformation, they aim to open a contemplative space. They have a relationship to both Alfred Stieglitz's theory of the equivalent and the 'Pataphysical notion of equivalence ("'Pataphysics demonstrates the equivalence of All and Nothing"—Daniel Accursi). Finally, they are attentive to the ways that light and shadow conjure the amorphousness of form and space, constantly altering the perspective of the viewer. *Please note that these videos are designed to be projected. When viewed on a computer monitor, please select "Full Screen" mode. http://www.richardkraft.net/tondos daily 0.75 2022-08-18 https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1509745425006-4J6YLH2614A0SB3GKANM/Busehl_Wall_1.jpg Tondos - Hudson River Tondos (Bushel Wall) https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1509745425006-4J6YLH2614A0SB3GKANM/Busehl_Wall_1.jpg Tondos - Hudson River Tondos (Bushel Wall) https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1579731291474-M1IDZYWGV54UY58SL9KJ/bushel_wall.jpg Tondos https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1571460591187-W9AJY8PE0UQMOJJLV2XV/set_12_7_sharp.jpg Tondos https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1579731316546-3RM4BCQ29S63D275C5MA/17.jpg Tondos https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1518728392596-1QTVBBV7VTI2I7NMGA83/22_DSC5618+copy.jpg Tondos https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1518728381164-Y3C8YLM5W02ZGKD4EXAQ/21_DSC5787+copy.jpg Tondos https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1518728084595-N36LI60AK8NA4XOVIH07/3_DSC0216+copy.jpg Tondos https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1518728099767-RLW0WD3BD1VXWK30MWP3/4_DSC1620+copy.jpg Tondos https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1518728048464-4R40MAZJL9Q52AV4GV5L/1_DSC0223+copy.jpg Tondos https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1518728228533-ME0SEXG8XNLB1OXIGHBR/10_DSC7110+copy.jpg Tondos https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1518728296786-6EPRRENVFV6S8VNUBSG2/15_DSC7859+copy.jpg Tondos https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1518728033997-MKJAOXRUDUMYG4D4XUJN/Richard_Kraft_1.jpg Tondos https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1497384941399-JMDVSV2P3HPJY0XWG32G/_DSC0216+copy.jpg Tondos - Tondo (Hudson River), 2017 "What in water did Bloom, waterlover, drawer of water, watercarrier, returning to the range, admire? Its universality: its democratic equality and constancy to its nature in seeking its own level: its vastness in the ocean of Mercator’s projection: its unplumbed profundity in the Sundam trench of the Pacific exceeding 8000 fathoms: the restlessness of its waves and surface particles visiting in turn all points of its seaboard: the independence of its units: the variability of states of sea: its hydrostatic quiescence in calm: its hydrokinetic turgidity in neap and spring tides: its subsidence after devastation: its sterility in the circumpolar icecaps, arctic and antarctic: its climatic and commercial significance: its preponderance of 3 to 1 over the dry land of the globe: its indisputable hegemony extending in square leagues over all the region below the subequatorial tropic of Capricorn: the multisecular stability of its primeval basin: its luteofulvous bed: its capacity to dissolve and hold in solution all soluble substances including millions of tons of the most precious metals: its slow erosions of peninsulas and islands, its persistent formation of homothetic islands, peninsulas and downwardtending promontories: its alluvial deposits: its weight and volume and density: its imperturbability in lagoons and highland tarns: its gradation of colours in the torrid and temperate and frigid zones: its vehicular ramifications in continental lakecontained streams and confluent oceanflowing rivers with their tributaries and transoceanic currents, gulfstream, north and south equatorial courses: its violence in seaquakes, waterspouts, Artesian wells, eruptions, torrents, eddies, freshets, spates, groundswells, watersheds, waterpartings, geysers, cataracts, whirlpools, maelstroms, inundations, deluges, cloudbursts: its vast circumterrestrial ahorizontal curve: its secrecy in springs and latent humidity, revealed by rhabdomantic or hygrometric instruments and exemplified by the well by the hole in the wall at Ashtown gate, saturation of air, distillation of dew: the simplicity of its composition, two constituent parts of hydrogen with one constituent part of oxygen: its healing virtues: its buoyancy in the waters of the Dead Sea: its persevering penetrativeness in runnels, gullies, inadequate dams, leaks on shipboard: its properties for cleansing, quenching thirst and fire, nourishing vegetation: its infallibility as paradigm and paragon: its metamorphoses as vapour, mist, cloud, rain, sleet, snow, hail: its strength in rigid hydrants: its variety of forms in loughs and bays and gulfs and bights and guts and lagoons and atolls and archipelagos and sounds and fjords and minches and tidal estuaries and arms of sea: its solidity in glaciers, icebergs, icefloes: its docility in working hydraulic millwheels, turbines, dynamos, electric power stations, bleachworks, tanneries, scutchmills: its utility in canals, rivers, if navigable, floating and graving docks: its potentiality derivable from harnessed tides or watercourses falling from level to level: its submarine fauna and flora (anacoustic, photophobe), numerically, if not literally, the inhabitants of the globe: its ubiquity as constituting 90 percent of the human body: the noxiousness of its effluvia in lacustrine marshes, pestilential fens, faded flowerwater, stagnant pools in the waning moon." —from Ulysses by James Joyce https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1475537008937-ZVYNL16W39J55LQ6DX7W/1.jpg Tondos http://www.richardkraft.net/one-hundred-walkers-west-hollywood daily 0.75 2022-04-12 https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1475545530254-WE0LM402M5W5IAPUCA43/RH_100_WALKERS_1151.jpg One Hundred Walkers, West Hollywood 100 Walkers, West Hollywood, a large scale performance piece by Richard Kraft took place on April 18th 2015. One hundred people, each dressed in a dark suit and bowler hat and wearing a sandwich board (with a unique image on both front and back) walked pre-determined routes through the city. The piece began with all one hundred walkers forming a grid in the El Tovar parking lot adjacent to West Hollywood Park. Once all one hundred walkers were in place, the maestra of ceremonies Marjorie Perloff began calling "start phrases" to release one walker at a time at approximately five second intervals. Once the walkers dispersed, they could be seen all over West Hollywood, particularly along all the main thoroughfares: Sunset, Santa Monica, Melrose, Beverly, San Vicente, Doheny, La Cienega, Crescent Heights and Fairfax. During the piece performers remained silent. Interaction with inquisitive passers by was confined to the handing out of a business card. The walk ended when all walkers returned to their starting point at the El Tovar parking lot, standing for one minute to finish their performance. Photo by Rainer Hosch https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1475545530254-WE0LM402M5W5IAPUCA43/RH_100_WALKERS_1151.jpg One Hundred Walkers, West Hollywood 100 Walkers, West Hollywood, a large scale performance piece by Richard Kraft took place on April 18th 2015. One hundred people, each dressed in a dark suit and bowler hat and wearing a sandwich board (with a unique image on both front and back) walked pre-determined routes through the city. The piece began with all one hundred walkers forming a grid in the El Tovar parking lot adjacent to West Hollywood Park. Once all one hundred walkers were in place, the maestra of ceremonies Marjorie Perloff began calling "start phrases" to release one walker at a time at approximately five second intervals. Once the walkers dispersed, they could be seen all over West Hollywood, particularly along all the main thoroughfares: Sunset, Santa Monica, Melrose, Beverly, San Vicente, Doheny, La Cienega, Crescent Heights and Fairfax. During the piece performers remained silent. Interaction with inquisitive passers by was confined to the handing out of a business card. The walk ended when all walkers returned to their starting point at the El Tovar parking lot, standing for one minute to finish their performance. Photo by Rainer Hosch https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1475545835762-DHBZ078NCHAAUBWM0VBE/17211389642_c167b5236c_o.jpg One Hundred Walkers, West Hollywood 100 Walkers, West Hollywood, a large scale performance piece by Richard Kraft took place on April 18th 2015. One hundred people, each dressed in a dark suit and bowler hat and wearing a sandwich board (with a unique image on both front and back) walked pre-determined routes through the city. The piece began with all one hundred walkers forming a grid in the El Tovar parking lot adjacent to West Hollywood Park. Once all one hundred walkers were in place, the maestra of ceremonies Marjorie Perloff began calling "start phrases" to release one walker at a time at approximately five second intervals. Once the walkers dispersed, they could be seen all over West Hollywood, particularly along all the main thoroughfares: Sunset, Santa Monica, Melrose, Beverly, San Vicente, Doheny, La Cienega, Crescent Heights and Fairfax. During the piece performers remained silent. Interaction with inquisitive passers by was confined to the handing out of a business card. The walk ended when all walkers returned to their starting point at the El Tovar parking lot, standing for one minute to finish their performance. Photo by Tony Coehlo https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1475545705418-YJC19W0V9UHV6C4WWP5P/RH_100_WALKERS_1214.jpg One Hundred Walkers, West Hollywood 100 Walkers, West Hollywood, a large scale performance piece by Richard Kraft took place on April 18th 2015. One hundred people, each dressed in a dark suit and bowler hat and wearing a sandwich board (with a unique image on both front and back) walked pre-determined routes through the city. The piece began with all one hundred walkers forming a grid in the El Tovar parking lot adjacent to West Hollywood Park. Once all one hundred walkers were in place, the maestra of ceremonies Marjorie Perloff began calling "start phrases" to release one walker at a time at approximately five second intervals. Once the walkers dispersed, they could be seen all over West Hollywood, particularly along all the main thoroughfares: Sunset, Santa Monica, Melrose, Beverly, San Vicente, Doheny, La Cienega, Crescent Heights and Fairfax. During the piece performers remained silent. Interaction with inquisitive passers by was confined to the handing out of a business card. The walk ended when all walkers returned to their starting point at the El Tovar parking lot, standing for one minute to finish their performance. For more images and further information please visit: www.onehundredwalkers.com Photo by Rainer Hosch https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1475545803940-VOF8LQJXQPM5T2AVC3LJ/17025560740_77a3ebbea7_o.jpg One Hundred Walkers, West Hollywood 100 Walkers, West Hollywood, a large scale performance piece by Richard Kraft took place on April 18th 2015. One hundred people, each dressed in a dark suit and bowler hat and wearing a sandwich board (with a unique image on both front and back) walked pre-determined routes through the city. The piece began with all one hundred walkers forming a grid in the El Tovar parking lot adjacent to West Hollywood Park. Once all one hundred walkers were in place, the maestra of ceremonies Marjorie Perloff began calling "start phrases" to release one walker at a time at approximately five second intervals. Once the walkers dispersed, they could be seen all over West Hollywood, particularly along all the main thoroughfares: Sunset, Santa Monica, Melrose, Beverly, San Vicente, Doheny, La Cienega, Crescent Heights and Fairfax. During the piece performers remained silent. Interaction with inquisitive passers by was confined to the handing out of a business card. The walk ended when all walkers returned to their starting point at the El Tovar parking lot, standing for one minute to finish their performance. For more images and further information please visit: www.onehundredwalkers.com Photo by Tony Coehlo https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1475545858132-8VM0KX7NQZ3ML53N9CDW/17211418982_2fef85c4ec_o.jpg One Hundred Walkers, West Hollywood 100 Walkers, West Hollywood, a large scale performance piece by Richard Kraft took place on April 18th 2015. One hundred people, each dressed in a dark suit and bowler hat and wearing a sandwich board (with a unique image on both front and back) walked pre-determined routes through the city. The piece began with all one hundred walkers forming a grid in the El Tovar parking lot adjacent to West Hollywood Park. Once all one hundred walkers were in place, the maestra of ceremonies Marjorie Perloff began calling "start phrases" to release one walker at a time at approximately five second intervals. Once the walkers dispersed, they could be seen all over West Hollywood, particularly along all the main thoroughfares: Sunset, Santa Monica, Melrose, Beverly, San Vicente, Doheny, La Cienega, Crescent Heights and Fairfax. During the piece performers remained silent. Interaction with inquisitive passers by was confined to the handing out of a business card. The walk ended when all walkers returned to their starting point at the El Tovar parking lot, standing for one minute to finish their performance. For more images and further information please visit: www.onehundredwalkers.com Photo by Tony Coehlo https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1475540381426-0JAAZ7KRV1546ZZUM506/IMG_0878.jpg One Hundred Walkers, West Hollywood 100 Walkers, West Hollywood, a large scale performance piece by Richard Kraft took place on April 18th 2015. One hundred people, each dressed in a dark suit and bowler hat and wearing a sandwich board (with a unique image on both front and back) walked pre-determined routes through the city. The piece began with all one hundred walkers forming a grid in the El Tovar parking lot adjacent to West Hollywood Park. Once all one hundred walkers were in place, the maestra of ceremonies Marjorie Perloff began calling "start phrases" to release one walker at a time at approximately five second intervals. Once the walkers dispersed, they could be seen all over West Hollywood, particularly along all the main thoroughfares: Sunset, Santa Monica, Melrose, Beverly, San Vicente, Doheny, La Cienega, Crescent Heights and Fairfax. During the piece performers remained silent. Interaction with inquisitive passers by was confined to the handing out of a business card. The walk ended when all walkers returned to their starting point at the El Tovar parking lot, standing for one minute to finish their performance. For more images and further information please visit: www.onehundredwalkers.com Photo by Aaron Sugiyama https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1475540103450-P9FX0X5EIUQIN2UN15JP/IMG_0878.jpg One Hundred Walkers, West Hollywood https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1475540354876-7M94HZKC2VIYVW2T3CD4/L1020841.jpg One Hundred Walkers, West Hollywood 100 Walkers, West Hollywood, a large scale performance piece by Richard Kraft took place on April 18th 2015. One hundred people, each dressed in a dark suit and bowler hat and wearing a sandwich board (with a unique image on both front and back) walked pre-determined routes through the city. The piece began with all one hundred walkers forming a grid in the El Tovar parking lot adjacent to West Hollywood Park. Once all one hundred walkers were in place, the maestra of ceremonies Marjorie Perloff began calling "start phrases" to release one walker at a time at approximately five second intervals. Once the walkers dispersed, they could be seen all over West Hollywood, particularly along all the main thoroughfares: Sunset, Santa Monica, Melrose, Beverly, San Vicente, Doheny, La Cienega, Crescent Heights and Fairfax. During the piece performers remained silent. Interaction with inquisitive passers by was confined to the handing out of a business card. The walk ended when all walkers returned to their starting point at the El Tovar parking lot, standing for one minute to finish their performance. For more images and further information please visit: www.onehundredwalkers.com Photo by Helen Kim https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1475540234844-ANQZ6LCSFPG2YE2CXNCI/L1020817.jpg One Hundred Walkers, West Hollywood 100 Walkers, West Hollywood, a large scale performance piece by Richard Kraft took place on April 18th 2015. One hundred people, each dressed in a dark suit and bowler hat and wearing a sandwich board (with a unique image on both front and back) walked pre-determined routes through the city. The piece began with all one hundred walkers forming a grid in the El Tovar parking lot adjacent to West Hollywood Park. Once all one hundred walkers were in place, the maestra of ceremonies Marjorie Perloff began calling "start phrases" to release one walker at a time at approximately five second intervals. Once the walkers dispersed, they could be seen all over West Hollywood, particularly along all the main thoroughfares: Sunset, Santa Monica, Melrose, Beverly, San Vicente, Doheny, La Cienega, Crescent Heights and Fairfax. During the piece performers remained silent. Interaction with inquisitive passers by was confined to the handing out of a business card. The walk ended when all walkers returned to their starting point at the El Tovar parking lot, standing for one minute to finish their performance. For more images and further information please visit: www.onehundredwalkers.com Photo by Helen Kim https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1475540475953-CTJ21CPI93QYJ6RSJ52L/L1020830.jpg One Hundred Walkers, West Hollywood 100 Walkers, West Hollywood, a large scale performance piece by Richard Kraft took place on April 18th 2015. One hundred people, each dressed in a dark suit and bowler hat and wearing a sandwich board (with a unique image on both front and back) walked pre-determined routes through the city. The piece began with all one hundred walkers forming a grid in the El Tovar parking lot adjacent to West Hollywood Park. Once all one hundred walkers were in place, the maestra of ceremonies Marjorie Perloff began calling "start phrases" to release one walker at a time at approximately five second intervals. Once the walkers dispersed, they could be seen all over West Hollywood, particularly along all the main thoroughfares: Sunset, Santa Monica, Melrose, Beverly, San Vicente, Doheny, La Cienega, Crescent Heights and Fairfax. During the piece performers remained silent. Interaction with inquisitive passers by was confined to the handing out of a business card. The walk ended when all walkers returned to their starting point at the El Tovar parking lot, standing for one minute to finish their performance. For more images and further information please visit: www.onehundredwalkers.com Photo by Helen Kim https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1475545231251-ZGJSHSB5F4PK6DF8H9L0/_HAN3320.jpg One Hundred Walkers, West Hollywood 100 Walkers, West Hollywood, a large scale performance piece by Richard Kraft took place on April 18th 2015. One hundred people, each dressed in a dark suit and bowler hat and wearing a sandwich board (with a unique image on both front and back) walked pre-determined routes through the city. The piece began with all one hundred walkers forming a grid in the El Tovar parking lot adjacent to West Hollywood Park. Once all one hundred walkers were in place, the maestra of ceremonies Marjorie Perloff began calling "start phrases" to release one walker at a time at approximately five second intervals. Once the walkers dispersed, they could be seen all over West Hollywood, particularly along all the main thoroughfares: Sunset, Santa Monica, Melrose, Beverly, San Vicente, Doheny, La Cienega, Crescent Heights and Fairfax. During the piece performers remained silent. Interaction with inquisitive passers by was confined to the handing out of a business card. The walk ended when all walkers returned to their starting point at the El Tovar parking lot, standing for one minute to finish their performance. For more images and further information please visit: www.onehundredwalkers.com Photo by Jin Han https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1475545284174-J2JOQQ3BG13T1T5RJ0F3/120A9017.jpg One Hundred Walkers, West Hollywood 100 Walkers, West Hollywood, a large scale performance piece by Richard Kraft took place on April 18th 2015. One hundred people, each dressed in a dark suit and bowler hat and wearing a sandwich board (with a unique image on both front and back) walked pre-determined routes through the city. The piece began with all one hundred walkers forming a grid in the El Tovar parking lot adjacent to West Hollywood Park. Once all one hundred walkers were in place, the maestra of ceremonies Marjorie Perloff began calling "start phrases" to release one walker at a time at approximately five second intervals. Once the walkers dispersed, they could be seen all over West Hollywood, particularly along all the main thoroughfares: Sunset, Santa Monica, Melrose, Beverly, San Vicente, Doheny, La Cienega, Crescent Heights and Fairfax. During the piece performers remained silent. Interaction with inquisitive passers by was confined to the handing out of a business card. The walk ended when all walkers returned to their starting point at the El Tovar parking lot, standing for one minute to finish their performance. For more images and further information please visit: www.onehundredwalkers.com Photo by Kyle Flath https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1475545259941-EO6UOPN6OVKJFJC3H3W2/_HAN3428.jpg One Hundred Walkers, West Hollywood 100 Walkers, West Hollywood, a large scale performance piece by Richard Kraft took place on April 18th 2015. One hundred people, each dressed in a dark suit and bowler hat and wearing a sandwich board (with a unique image on both front and back) walked pre-determined routes through the city. The piece began with all one hundred walkers forming a grid in the El Tovar parking lot adjacent to West Hollywood Park. Once all one hundred walkers were in place, the maestra of ceremonies Marjorie Perloff began calling "start phrases" to release one walker at a time at approximately five second intervals. Once the walkers dispersed, they could be seen all over West Hollywood, particularly along all the main thoroughfares: Sunset, Santa Monica, Melrose, Beverly, San Vicente, Doheny, La Cienega, Crescent Heights and Fairfax. During the piece performers remained silent. Interaction with inquisitive passers by was confined to the handing out of a business card. The walk ended when all walkers returned to their starting point at the El Tovar parking lot, standing for one minute to finish their performance. For more images and further information please visit: www.onehundredwalkers.com Photo by Kyle Flath https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1475545154110-ARXAUBLLCUOUB8JX2BBI/L1020810.jpg One Hundred Walkers, West Hollywood 100 Walkers, West Hollywood, a large scale performance piece by Richard Kraft took place on April 18th 2015. One hundred people, each dressed in a dark suit and bowler hat and wearing a sandwich board (with a unique image on both front and back) walked pre-determined routes through the city. The piece began with all one hundred walkers forming a grid in the El Tovar parking lot adjacent to West Hollywood Park. Once all one hundred walkers were in place, the maestra of ceremonies Marjorie Perloff began calling "start phrases" to release one walker at a time at approximately five second intervals. Once the walkers dispersed, they could be seen all over West Hollywood, particularly along all the main thoroughfares: Sunset, Santa Monica, Melrose, Beverly, San Vicente, Doheny, La Cienega, Crescent Heights and Fairfax. During the piece performers remained silent. Interaction with inquisitive passers by was confined to the handing out of a business card. The walk ended when all walkers returned to their starting point at the El Tovar parking lot, standing for one minute to finish their performance. For more images and further information please visit: www.onehundredwalkers.com Photo by Helen Kim https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1475545312439-9C1P1045INEUK02GXIA1/120A8907.jpg One Hundred Walkers, West Hollywood 100 Walkers, West Hollywood, a large scale performance piece by Richard Kraft took place on April 18th 2015. One hundred people, each dressed in a dark suit and bowler hat and wearing a sandwich board (with a unique image on both front and back) walked pre-determined routes through the city. The piece began with all one hundred walkers forming a grid in the El Tovar parking lot adjacent to West Hollywood Park. Once all one hundred walkers were in place, the maestra of ceremonies Marjorie Perloff began calling "start phrases" to release one walker at a time at approximately five second intervals. Once the walkers dispersed, they could be seen all over West Hollywood, particularly along all the main thoroughfares: Sunset, Santa Monica, Melrose, Beverly, San Vicente, Doheny, La Cienega, Crescent Heights and Fairfax. During the piece performers remained silent. Interaction with inquisitive passers by was confined to the handing out of a business card. The walk ended when all walkers returned to their starting point at the El Tovar parking lot, standing for one minute to finish their performance. For more images and further information please visit: www.onehundredwalkers.com Photo by Kyle Flath https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1475545330340-5J9TPG4GPOBQX96USMDT/120A8986.jpg One Hundred Walkers, West Hollywood 100 Walkers, West Hollywood, a large scale performance piece by Richard Kraft took place on April 18th 2015. One hundred people, each dressed in a dark suit and bowler hat and wearing a sandwich board (with a unique image on both front and back) walked pre-determined routes through the city. The piece began with all one hundred walkers forming a grid in the El Tovar parking lot adjacent to West Hollywood Park. Once all one hundred walkers were in place, the maestra of ceremonies Marjorie Perloff began calling "start phrases" to release one walker at a time at approximately five second intervals. Once the walkers dispersed, they could be seen all over West Hollywood, particularly along all the main thoroughfares: Sunset, Santa Monica, Melrose, Beverly, San Vicente, Doheny, La Cienega, Crescent Heights and Fairfax. During the piece performers remained silent. Interaction with inquisitive passers by was confined to the handing out of a business card. The walk ended when all walkers returned to their starting point at the El Tovar parking lot, standing for one minute to finish their performance. For more images and further information please visit: www.onehundredwalkers.com Photo by Kyle Flath https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1475545419483-N7LBZET93K09RH9P9FXM/IMG_7410.jpg One Hundred Walkers, West Hollywood 100 Walkers, West Hollywood, a large scale performance piece by Richard Kraft took place on April 18th 2015. One hundred people, each dressed in a dark suit and bowler hat and wearing a sandwich board (with a unique image on both front and back) walked pre-determined routes through the city. The piece began with all one hundred walkers forming a grid in the El Tovar parking lot adjacent to West Hollywood Park. Once all one hundred walkers were in place, the maestra of ceremonies Marjorie Perloff began calling "start phrases" to release one walker at a time at approximately five second intervals. Once the walkers dispersed, they could be seen all over West Hollywood, particularly along all the main thoroughfares: Sunset, Santa Monica, Melrose, Beverly, San Vicente, Doheny, La Cienega, Crescent Heights and Fairfax. During the piece performers remained silent. Interaction with inquisitive passers by was confined to the handing out of a business card. The walk ended when all walkers returned to their starting point at the El Tovar parking lot, standing for one minute to finish their performance. For more images and further information please visit: www.onehundredwalkers.com Photo by Matt Stromberg https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1475545771619-UJ7Q3YU215GV3WJL5QPM/19.jpg One Hundred Walkers, West Hollywood 100 Walkers, West Hollywood, a large scale performance piece by Richard Kraft took place on April 18th 2015. One hundred people, each dressed in a dark suit and bowler hat and wearing a sandwich board (with a unique image on both front and back) walked pre-determined routes through the city. The piece began with all one hundred walkers forming a grid in the El Tovar parking lot adjacent to West Hollywood Park. Once all one hundred walkers were in place, the maestra of ceremonies Marjorie Perloff began calling "start phrases" to release one walker at a time at approximately five second intervals. Once the walkers dispersed, they could be seen all over West Hollywood, particularly along all the main thoroughfares: Sunset, Santa Monica, Melrose, Beverly, San Vicente, Doheny, La Cienega, Crescent Heights and Fairfax. During the piece performers remained silent. Interaction with inquisitive passers by was confined to the handing out of a business card. The walk ended when all walkers returned to their starting point at the El Tovar parking lot, standing for one minute to finish their performance. For more images and further information please visit: www.onehundredwalkers.com Photo by Kyle Flath https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1475545739668-DC6YFB5NVMLFNEUKVCXY/_JHP3160.jpg One Hundred Walkers, West Hollywood 100 Walkers, West Hollywood, a large scale performance piece by Richard Kraft took place on April 18th 2015. One hundred people, each dressed in a dark suit and bowler hat and wearing a sandwich board (with a unique image on both front and back) walked pre-determined routes through the city. The piece began with all one hundred walkers forming a grid in the El Tovar parking lot adjacent to West Hollywood Park. Once all one hundred walkers were in place, the maestra of ceremonies Marjorie Perloff began calling "start phrases" to release one walker at a time at approximately five second intervals. Once the walkers dispersed, they could be seen all over West Hollywood, particularly along all the main thoroughfares: Sunset, Santa Monica, Melrose, Beverly, San Vicente, Doheny, La Cienega, Crescent Heights and Fairfax. During the piece performers remained silent. Interaction with inquisitive passers by was confined to the handing out of a business card. The walk ended when all walkers returned to their starting point at the El Tovar parking lot, standing for one minute to finish their performance. For more images and further information please visit: www.onehundredwalkers.com Photo by Ryan Lannom https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1475545362939-UGVNG14ETCJ3U4MXNKL2/120A8768.jpg One Hundred Walkers, West Hollywood 100 Walkers, West Hollywood, a large scale performance piece by Richard Kraft took place on April 18th 2015. One hundred people, each dressed in a dark suit and bowler hat and wearing a sandwich board (with a unique image on both front and back) walked pre-determined routes through the city. The piece began with all one hundred walkers forming a grid in the El Tovar parking lot adjacent to West Hollywood Park. Once all one hundred walkers were in place, the maestra of ceremonies Marjorie Perloff began calling "start phrases" to release one walker at a time at approximately five second intervals. Once the walkers dispersed, they could be seen all over West Hollywood, particularly along all the main thoroughfares: Sunset, Santa Monica, Melrose, Beverly, San Vicente, Doheny, La Cienega, Crescent Heights and Fairfax. During the piece performers remained silent. Interaction with inquisitive passers by was confined to the handing out of a business card. The walk ended when all walkers returned to their starting point at the El Tovar parking lot, standing for one minute to finish their performance. For more images and further information please visit: www.onehundredwalkers.com Photo by Kyle Flath https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1475545938283-BHEEY1IYOU1VOIM1DT9R/_DSC3956.jpg One Hundred Walkers, West Hollywood 100 Walkers, West Hollywood, a large scale performance piece by Richard Kraft took place on April 18th 2015. One hundred people, each dressed in a dark suit and bowler hat and wearing a sandwich board (with a unique image on both front and back) walked pre-determined routes through the city. The piece began with all one hundred walkers forming a grid in the El Tovar parking lot adjacent to West Hollywood Park. Once all one hundred walkers were in place, the maestra of ceremonies Marjorie Perloff began calling "start phrases" to release one walker at a time at approximately five second intervals. Once the walkers dispersed, they could be seen all over West Hollywood, particularly along all the main thoroughfares: Sunset, Santa Monica, Melrose, Beverly, San Vicente, Doheny, La Cienega, Crescent Heights and Fairfax. During the piece performers remained silent. Interaction with inquisitive passers by was confined to the handing out of a business card. The walk ended when all walkers returned to their starting point at the El Tovar parking lot, standing for one minute to finish their performance. For more images and further information please visit: www.onehundredwalkers.com Photo by William Vo https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1475545914083-1UFFGQV4SGTLWBSEGKHO/_DSC3892.jpg One Hundred Walkers, West Hollywood 100 Walkers, West Hollywood, a large scale performance piece by Richard Kraft took place on April 18th 2015. One hundred people, each dressed in a dark suit and bowler hat and wearing a sandwich board (with a unique image on both front and back) walked pre-determined routes through the city. The piece began with all one hundred walkers forming a grid in the El Tovar parking lot adjacent to West Hollywood Park. Once all one hundred walkers were in place, the maestra of ceremonies Marjorie Perloff began calling "start phrases" to release one walker at a time at approximately five second intervals. Once the walkers dispersed, they could be seen all over West Hollywood, particularly along all the main thoroughfares: Sunset, Santa Monica, Melrose, Beverly, San Vicente, Doheny, La Cienega, Crescent Heights and Fairfax. During the piece performers remained silent. Interaction with inquisitive passers by was confined to the handing out of a business card. The walk ended when all walkers returned to their starting point at the El Tovar parking lot, standing for one minute to finish their performance. For more images and further information please visit: www.onehundredwalkers.com Photo by William Vo https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1475545961983-5X0OPRRSHDM10GFKSKO0/_DSC4079.jpg One Hundred Walkers, West Hollywood 100 Walkers, West Hollywood, a large scale performance piece by Richard Kraft took place on April 18th 2015. One hundred people, each dressed in a dark suit and bowler hat and wearing a sandwich board (with a unique image on both front and back) walked pre-determined routes through the city. The piece began with all one hundred walkers forming a grid in the El Tovar parking lot adjacent to West Hollywood Park. Once all one hundred walkers were in place, the maestra of ceremonies Marjorie Perloff began calling "start phrases" to release one walker at a time at approximately five second intervals. Once the walkers dispersed, they could be seen all over West Hollywood, particularly along all the main thoroughfares: Sunset, Santa Monica, Melrose, Beverly, San Vicente, Doheny, La Cienega, Crescent Heights and Fairfax. During the piece performers remained silent. Interaction with inquisitive passers by was confined to the handing out of a business card. The walk ended when all walkers returned to their starting point at the El Tovar parking lot, standing for one minute to finish their performance. For more images and further information please visit: www.onehundredwalkers.com Photo by William Vo https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1475547409770-0BAMOEUCVHPC3SZNJYR4/100_Walkers_fullgrid.jpg One Hundred Walkers, West Hollywood http://www.richardkraft.net/kites daily 0.75 2019-10-19 https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1571449810369-OE095EV857K7NVPOHYEN/1+copy.jpg Kites https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1571449810369-OE095EV857K7NVPOHYEN/1+copy.jpg Kites https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1571449824759-MWDDQWEU33KPZI7TTQ91/2+copy.jpg Kites https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1571449731301-E33VPV45QPRQWGI5LLY1/7+copy.jpg Kites https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1571449741191-GTK6OAZYSC1BHKMR2PWS/8+copy.jpg Kites https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1571449775964-IQ0Z86BDF0N5R7ZLSX9H/8d.jpg Kites https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1571449794296-VKNMGKKAQHHB1RSOMDCS/4+copy.jpg Kites https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1571449783920-QBJE6T3NX860TILMUVSI/6+copy.jpg Kites https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1571449785845-9P3FZKTP4QVLH0ZQF2TF/5+copy.jpg Kites https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1571449765291-JWJZYF9MTHK03XHMVOW5/8c+copy.jpg Kites http://www.richardkraft.net/it-is-what-it-is-1 daily 0.75 2023-03-10 https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1660856156811-TJLEQWN5WYNLQNFFD15Q/Siglio-Kraft-IIWII-1-a-Slipcased-Set.jpg It Is What It Is - It Is What It Is Read Leah Ollman’s review in the Brooklyn Rail here. From the publishers description: On inauguration day January 20, 2017, artist Richard Kraft began issuing Donald Trump penalty cards, just as a soccer referee wields a yellow as a caution and a red for dismissal. For four years, Kraft scoured the news and Trump’s Twitter feed every day, notating and assigning each of Trump’s offenses a colored card (at first yellow and red, then Kraft devised magenta, purple, and crimson as the offenses became more egregious). Through January 20, 2021, when Trump presidency came to an end, Kraft recorded almost 10,000 offenses, each assigned a card and annotated in the corresponding color. In this set of five artist’s books, totaling over 1600 pages, the ever-mutating, accumulating grids of colored cards reveal the frequency, chronology, and intensity of Trump’s transgressions. In their beauty and abstraction, they evoke musical notation, abstract painting, the processing of digital information, or geologic strata. Conversely, the textual annotations, totaling over 500,000 words, written as neutrally as possible, precisely describe each violation. The annotations become a shocking chronicle, a kind of day-to-day — sometimes minute-by-minute — account that leaves no doubt about the intentions of this president from his first day in office through January 6, 2020. This project is many things—a marriage of outrage with absurdity, of vigilance with futility; a durational work of art and work of great endurance; an experiment to turn toxicity into beauty; a daily reckoning and a bulwark against forgetting. "It Is What It Is" originates in the artist’s refusal—to normalize the Trump presidency, to become complacent or inured, to never turn away from the ugliness. Now, two years later with elections looming, "It Is What It Is" is something else as well: a cautionary tale of epic proportions. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1660856156811-TJLEQWN5WYNLQNFFD15Q/Siglio-Kraft-IIWII-1-a-Slipcased-Set.jpg It Is What It Is - It Is What It Is Read Leah Ollman’s review in the Brooklyn Rail here. From the publishers description: On inauguration day January 20, 2017, artist Richard Kraft began issuing Donald Trump penalty cards, just as a soccer referee wields a yellow as a caution and a red for dismissal. For four years, Kraft scoured the news and Trump’s Twitter feed every day, notating and assigning each of Trump’s offenses a colored card (at first yellow and red, then Kraft devised magenta, purple, and crimson as the offenses became more egregious). Through January 20, 2021, when Trump presidency came to an end, Kraft recorded almost 10,000 offenses, each assigned a card and annotated in the corresponding color. In this set of five artist’s books, totaling over 1600 pages, the ever-mutating, accumulating grids of colored cards reveal the frequency, chronology, and intensity of Trump’s transgressions. In their beauty and abstraction, they evoke musical notation, abstract painting, the processing of digital information, or geologic strata. Conversely, the textual annotations, totaling over 500,000 words, written as neutrally as possible, precisely describe each violation. The annotations become a shocking chronicle, a kind of day-to-day — sometimes minute-by-minute — account that leaves no doubt about the intentions of this president from his first day in office through January 6, 2020. This project is many things—a marriage of outrage with absurdity, of vigilance with futility; a durational work of art and work of great endurance; an experiment to turn toxicity into beauty; a daily reckoning and a bulwark against forgetting. "It Is What It Is" originates in the artist’s refusal—to normalize the Trump presidency, to become complacent or inured, to never turn away from the ugliness. Now, two years later with elections looming, "It Is What It Is" is something else as well: a cautionary tale of epic proportions. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1660856857908-RWZ86BFT4LZRJMLWTPKQ/Siglio-Kraft-IIWII-2017-4.jpg It Is What It Is - It Is What It IS Read Leah Ollman’s review in the Brooklyn Rail here. From the publishers description: On inauguration day January 20, 2017, artist Richard Kraft began issuing Donald Trump penalty cards, just as a soccer referee wields a yellow as a caution and a red for dismissal. For four years, Kraft scoured the news and Trump’s Twitter feed every day, notating and assigning each of Trump’s offenses a colored card (at first yellow and red, then Kraft devised magenta, purple, and crimson as the offenses became more egregious). Through January 20, 2021, when Trump presidency came to an end, Kraft recorded almost 10,000 offenses, each assigned a card and annotated in the corresponding color. In this set of five artist’s books, totaling over 1600 pages, the ever-mutating, accumulating grids of colored cards reveal the frequency, chronology, and intensity of Trump’s transgressions. In their beauty and abstraction, they evoke musical notation, abstract painting, the processing of digital information, or geologic strata. Conversely, the textual annotations, totaling over 500,000 words, written as neutrally as possible, precisely describe each violation. The annotations become a shocking chronicle, a kind of day-to-day — sometimes minute-by-minute — account that leaves no doubt about the intentions of this president from his first day in office through January 6, 2020. This project is many things—a marriage of outrage with absurdity, of vigilance with futility; a durational work of art and work of great endurance; an experiment to turn toxicity into beauty; a daily reckoning and a bulwark against forgetting. "It Is What It Is" originates in the artist’s refusal—to normalize the Trump presidency, to become complacent or inured, to never turn away from the ugliness. Now, two years later with elections looming, "It Is What It Is" is something else as well: a cautionary tale of epic proportions. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1636839071213-I5PRQ5IJPI2YGWPOEOT5/image-asset.jpeg It Is What It Is - It Is What It Is Read Leah Ollman’s review in the Brooklyn Rail here. From the publishers description: On inauguration day January 20, 2017, artist Richard Kraft began issuing Donald Trump penalty cards, just as a soccer referee wields a yellow as a caution and a red for dismissal. For four years, Kraft scoured the news and Trump’s Twitter feed every day, notating and assigning each of Trump’s offenses a colored card (at first yellow and red, then Kraft devised magenta, purple, and crimson as the offenses became more egregious). Through January 20, 2021, when Trump presidency came to an end, Kraft recorded almost 10,000 offenses, each assigned a card and annotated in the corresponding color. In this set of five artist’s books, totaling over 1600 pages, the ever-mutating, accumulating grids of colored cards reveal the frequency, chronology, and intensity of Trump’s transgressions. In their beauty and abstraction, they evoke musical notation, abstract painting, the processing of digital information, or geologic strata. Conversely, the textual annotations, totaling over 500,000 words, written as neutrally as possible, precisely describe each violation. The annotations become a shocking chronicle, a kind of day-to-day — sometimes minute-by-minute — account that leaves no doubt about the intentions of this president from his first day in office through January 6, 2020. This project is many things—a marriage of outrage with absurdity, of vigilance with futility; a durational work of art and work of great endurance; an experiment to turn toxicity into beauty; a daily reckoning and a bulwark against forgetting. "It Is What It Is" originates in the artist’s refusal—to normalize the Trump presidency, to become complacent or inured, to never turn away from the ugliness. Now, two years later with elections looming, "It Is What It Is" is something else as well: a cautionary tale of epic proportions. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1636839204128-9L19CQQIJC7FFUCFPHDA/image-asset.jpeg It Is What It Is - It Is What It Is Read Leah Ollman’s review in the Brooklyn Rail here. From the publishers description: On inauguration day January 20, 2017, artist Richard Kraft began issuing Donald Trump penalty cards, just as a soccer referee wields a yellow as a caution and a red for dismissal. For four years, Kraft scoured the news and Trump’s Twitter feed every day, notating and assigning each of Trump’s offenses a colored card (at first yellow and red, then Kraft devised magenta, purple, and crimson as the offenses became more egregious). Through January 20, 2021, when Trump presidency came to an end, Kraft recorded almost 10,000 offenses, each assigned a card and annotated in the corresponding color. In this set of five artist’s books, totaling over 1600 pages, the ever-mutating, accumulating grids of colored cards reveal the frequency, chronology, and intensity of Trump’s transgressions. In their beauty and abstraction, they evoke musical notation, abstract painting, the processing of digital information, or geologic strata. Conversely, the textual annotations, totaling over 500,000 words, written as neutrally as possible, precisely describe each violation. The annotations become a shocking chronicle, a kind of day-to-day — sometimes minute-by-minute — account that leaves no doubt about the intentions of this president from his first day in office through January 6, 2020. This project is many things—a marriage of outrage with absurdity, of vigilance with futility; a durational work of art and work of great endurance; an experiment to turn toxicity into beauty; a daily reckoning and a bulwark against forgetting. "It Is What It Is" originates in the artist’s refusal—to normalize the Trump presidency, to become complacent or inured, to never turn away from the ugliness. Now, two years later with elections looming, "It Is What It Is" is something else as well: a cautionary tale of epic proportions. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1617723496654-QWNGSRAB03WBEFRKWA9I/Screen+Shot+2021-02-25+at+11.09.42+AM.png It Is What It Is - It Is What It Is Read Leah Ollman’s review in the Brooklyn Rail here. From the publishers description: On inauguration day January 20, 2017, artist Richard Kraft began issuing Donald Trump penalty cards, just as a soccer referee wields a yellow as a caution and a red for dismissal. For four years, Kraft scoured the news and Trump’s Twitter feed every day, notating and assigning each of Trump’s offenses a colored card (at first yellow and red, then Kraft devised magenta, purple, and crimson as the offenses became more egregious). Through January 20, 2021, when Trump presidency came to an end, Kraft recorded almost 10,000 offenses, each assigned a card and annotated in the corresponding color. In this set of five artist’s books, totaling over 1600 pages, the ever-mutating, accumulating grids of colored cards reveal the frequency, chronology, and intensity of Trump’s transgressions. In their beauty and abstraction, they evoke musical notation, abstract painting, the processing of digital information, or geologic strata. Conversely, the textual annotations, totaling over 500,000 words, written as neutrally as possible, precisely describe each violation. The annotations become a shocking chronicle, a kind of day-to-day — sometimes minute-by-minute — account that leaves no doubt about the intentions of this president from his first day in office through January 6, 2020. This project is many things—a marriage of outrage with absurdity, of vigilance with futility; a durational work of art and work of great endurance; an experiment to turn toxicity into beauty; a daily reckoning and a bulwark against forgetting. "It Is What It Is" originates in the artist’s refusal—to normalize the Trump presidency, to become complacent or inured, to never turn away from the ugliness. Now, two years later with elections looming, "It Is What It Is" is something else as well: a cautionary tale of epic proportions. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1636839396959-DT32JUZJ6QTTJL5G7UX3/image-asset.jpeg It Is What It Is - It Is What It Is Read Leah Ollman’s review in the Brooklyn Rail here. From the publishers description: On inauguration day January 20, 2017, artist Richard Kraft began issuing Donald Trump penalty cards, just as a soccer referee wields a yellow as a caution and a red for dismissal. For four years, Kraft scoured the news and Trump’s Twitter feed every day, notating and assigning each of Trump’s offenses a colored card (at first yellow and red, then Kraft devised magenta, purple, and crimson as the offenses became more egregious). Through January 20, 2021, when Trump presidency came to an end, Kraft recorded almost 10,000 offenses, each assigned a card and annotated in the corresponding color. In this set of five artist’s books, totaling over 1600 pages, the ever-mutating, accumulating grids of colored cards reveal the frequency, chronology, and intensity of Trump’s transgressions. In their beauty and abstraction, they evoke musical notation, abstract painting, the processing of digital information, or geologic strata. Conversely, the textual annotations, totaling over 500,000 words, written as neutrally as possible, precisely describe each violation. The annotations become a shocking chronicle, a kind of day-to-day — sometimes minute-by-minute — account that leaves no doubt about the intentions of this president from his first day in office through January 6, 2020. This project is many things—a marriage of outrage with absurdity, of vigilance with futility; a durational work of art and work of great endurance; an experiment to turn toxicity into beauty; a daily reckoning and a bulwark against forgetting. "It Is What It Is" originates in the artist’s refusal—to normalize the Trump presidency, to become complacent or inured, to never turn away from the ugliness. Now, two years later with elections looming, "It Is What It Is" is something else as well: a cautionary tale of epic proportions. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1636839492207-RGOXFB9KBQNTT1Y8IMM3/image-asset.jpeg It Is What It Is - It Is What It Is Read Leah Ollman’s review in the Brooklyn Rail here. From the publishers description: On inauguration day January 20, 2017, artist Richard Kraft began issuing Donald Trump penalty cards, just as a soccer referee wields a yellow as a caution and a red for dismissal. For four years, Kraft scoured the news and Trump’s Twitter feed every day, notating and assigning each of Trump’s offenses a colored card (at first yellow and red, then Kraft devised magenta, purple, and crimson as the offenses became more egregious). Through January 20, 2021, when Trump presidency came to an end, Kraft recorded almost 10,000 offenses, each assigned a card and annotated in the corresponding color. In this set of five artist’s books, totaling over 1600 pages, the ever-mutating, accumulating grids of colored cards reveal the frequency, chronology, and intensity of Trump’s transgressions. In their beauty and abstraction, they evoke musical notation, abstract painting, the processing of digital information, or geologic strata. Conversely, the textual annotations, totaling over 500,000 words, written as neutrally as possible, precisely describe each violation. The annotations become a shocking chronicle, a kind of day-to-day — sometimes minute-by-minute — account that leaves no doubt about the intentions of this president from his first day in office through January 6, 2020. This project is many things—a marriage of outrage with absurdity, of vigilance with futility; a durational work of art and work of great endurance; an experiment to turn toxicity into beauty; a daily reckoning and a bulwark against forgetting. "It Is What It Is" originates in the artist’s refusal—to normalize the Trump presidency, to become complacent or inured, to never turn away from the ugliness. Now, two years later with elections looming, "It Is What It Is" is something else as well: a cautionary tale of epic proportions. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1636839588429-RJBT2CPJSODVEP6UT64K/image-asset.jpeg It Is What It Is - It Is What It Is Read Leah Ollman’s review in the Brooklyn Rail here. From the publishers description: On inauguration day January 20, 2017, artist Richard Kraft began issuing Donald Trump penalty cards, just as a soccer referee wields a yellow as a caution and a red for dismissal. For four years, Kraft scoured the news and Trump’s Twitter feed every day, notating and assigning each of Trump’s offenses a colored card (at first yellow and red, then Kraft devised magenta, purple, and crimson as the offenses became more egregious). Through January 20, 2021, when Trump presidency came to an end, Kraft recorded almost 10,000 offenses, each assigned a card and annotated in the corresponding color. In this set of five artist’s books, totaling over 1600 pages, the ever-mutating, accumulating grids of colored cards reveal the frequency, chronology, and intensity of Trump’s transgressions. In their beauty and abstraction, they evoke musical notation, abstract painting, the processing of digital information, or geologic strata. Conversely, the textual annotations, totaling over 500,000 words, written as neutrally as possible, precisely describe each violation. The annotations become a shocking chronicle, a kind of day-to-day — sometimes minute-by-minute — account that leaves no doubt about the intentions of this president from his first day in office through January 6, 2020. This project is many things—a marriage of outrage with absurdity, of vigilance with futility; a durational work of art and work of great endurance; an experiment to turn toxicity into beauty; a daily reckoning and a bulwark against forgetting. "It Is What It Is" originates in the artist’s refusal—to normalize the Trump presidency, to become complacent or inured, to never turn away from the ugliness. Now, two years later with elections looming, "It Is What It Is" is something else as well: a cautionary tale of epic proportions. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1636839668551-VZGJS0GOAA76CZ5WH7PM/image-asset.jpeg It Is What It Is - It Is What It Is Read Leah Ollman’s review in the Brooklyn Rail here. From the publishers description: On inauguration day January 20, 2017, artist Richard Kraft began issuing Donald Trump penalty cards, just as a soccer referee wields a yellow as a caution and a red for dismissal. For four years, Kraft scoured the news and Trump’s Twitter feed every day, notating and assigning each of Trump’s offenses a colored card (at first yellow and red, then Kraft devised magenta, purple, and crimson as the offenses became more egregious). Through January 20, 2021, when Trump presidency came to an end, Kraft recorded almost 10,000 offenses, each assigned a card and annotated in the corresponding color. In this set of five artist’s books, totaling over 1600 pages, the ever-mutating, accumulating grids of colored cards reveal the frequency, chronology, and intensity of Trump’s transgressions. In their beauty and abstraction, they evoke musical notation, abstract painting, the processing of digital information, or geologic strata. Conversely, the textual annotations, totaling over 500,000 words, written as neutrally as possible, precisely describe each violation. The annotations become a shocking chronicle, a kind of day-to-day — sometimes minute-by-minute — account that leaves no doubt about the intentions of this president from his first day in office through January 6, 2020. This project is many things—a marriage of outrage with absurdity, of vigilance with futility; a durational work of art and work of great endurance; an experiment to turn toxicity into beauty; a daily reckoning and a bulwark against forgetting. "It Is What It Is" originates in the artist’s refusal—to normalize the Trump presidency, to become complacent or inured, to never turn away from the ugliness. Now, two years later with elections looming, "It Is What It Is" is something else as well: a cautionary tale of epic proportions. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1636839751600-YF41CK2GQRJGGALL7OPJ/image-asset.jpeg It Is What It Is - It Is What It Is Read Leah Ollman’s review in the Brooklyn Rail here. From the publishers description: On inauguration day January 20, 2017, artist Richard Kraft began issuing Donald Trump penalty cards, just as a soccer referee wields a yellow as a caution and a red for dismissal. For four years, Kraft scoured the news and Trump’s Twitter feed every day, notating and assigning each of Trump’s offenses a colored card (at first yellow and red, then Kraft devised magenta, purple, and crimson as the offenses became more egregious). Through January 20, 2021, when Trump presidency came to an end, Kraft recorded almost 10,000 offenses, each assigned a card and annotated in the corresponding color. In this set of five artist’s books, totaling over 1600 pages, the ever-mutating, accumulating grids of colored cards reveal the frequency, chronology, and intensity of Trump’s transgressions. In their beauty and abstraction, they evoke musical notation, abstract painting, the processing of digital information, or geologic strata. Conversely, the textual annotations, totaling over 500,000 words, written as neutrally as possible, precisely describe each violation. The annotations become a shocking chronicle, a kind of day-to-day — sometimes minute-by-minute — account that leaves no doubt about the intentions of this president from his first day in office through January 6, 2020. This project is many things—a marriage of outrage with absurdity, of vigilance with futility; a durational work of art and work of great endurance; an experiment to turn toxicity into beauty; a daily reckoning and a bulwark against forgetting. "It Is What It Is" originates in the artist’s refusal—to normalize the Trump presidency, to become complacent or inured, to never turn away from the ugliness. Now, two years later with elections looming, "It Is What It Is" is something else as well: a cautionary tale of epic proportions. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1636839829616-1QML70MID1H6AJ4ALJY4/image-asset.jpeg It Is What It Is - It Is What It Is Read Leah Ollman’s review in the Brooklyn Rail here. From the publishers description: On inauguration day January 20, 2017, artist Richard Kraft began issuing Donald Trump penalty cards, just as a soccer referee wields a yellow as a caution and a red for dismissal. For four years, Kraft scoured the news and Trump’s Twitter feed every day, notating and assigning each of Trump’s offenses a colored card (at first yellow and red, then Kraft devised magenta, purple, and crimson as the offenses became more egregious). Through January 20, 2021, when Trump presidency came to an end, Kraft recorded almost 10,000 offenses, each assigned a card and annotated in the corresponding color. In this set of five artist’s books, totaling over 1600 pages, the ever-mutating, accumulating grids of colored cards reveal the frequency, chronology, and intensity of Trump’s transgressions. In their beauty and abstraction, they evoke musical notation, abstract painting, the processing of digital information, or geologic strata. Conversely, the textual annotations, totaling over 500,000 words, written as neutrally as possible, precisely describe each violation. The annotations become a shocking chronicle, a kind of day-to-day — sometimes minute-by-minute — account that leaves no doubt about the intentions of this president from his first day in office through January 6, 2020. This project is many things—a marriage of outrage with absurdity, of vigilance with futility; a durational work of art and work of great endurance; an experiment to turn toxicity into beauty; a daily reckoning and a bulwark against forgetting. "It Is What It Is" originates in the artist’s refusal—to normalize the Trump presidency, to become complacent or inured, to never turn away from the ugliness. Now, two years later with elections looming, "It Is What It Is" is something else as well: a cautionary tale of epic proportions. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1638739694424-BN3PLW87HP2AG416JUK3/Complete_Set_final.jpg It Is What It Is - "It Is What It Is": All the Cards Issued to Donald Trump Pencil on paper https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1600724272508-9NFS89W449ZOA14BJ0U9/Text+Pages+2+copy.jpg It Is What It Is It Is What It Is is a response to and a catalog of Donald Trump’s presidency. It is a daily reckoning, a refusal of normalcy, a bulwark against forgetting, a work of art that creates an unrelenting record of Trump’s ignominious four years in office, while also transforming it—in the crucible of dark humor—into something quite beautiful. The project’s second iteration is a set of daily drawings consisting of hand-painted cards mounted on board. Each drawing represents one day of Trump’s presidency and is accompanied by a print with annotations for each card. In soccer, yellow signifies a warning. Red is for more serious offenses—ones for which a player should be dismissed. (The futility and absurdity of assigning these cards to Trump is part of the point—what power does a referee hold when norms, fairness, and justice have been eviscerated? And yet, the referee goes on . . .) Quite soon after inauguration, more colors were added for a variety of infractions: magenta for especially egregious transgressions, orange for days Trump spent at his golf courses (there are over 300), pink for those who played golf with him (sycophants!), and dark blue when someone in the administration was fired or resigned ("fuck you as you go" cards). On April 23, 2020, when Trump suggested curing COVID by injecting bleach into the body, a purple card was added for the most shocking moments. In September 2020 when he repeatedly refused to agree to a peaceful transfer of power should he lose his re-election bid, another level of card, crimson, became necessary. There are also, conversely, teal cards throughout honoring acts of resistance. When asked about COVID’s staggering daily death toll by journalist Jonathan Swan in a September 3, 2020 interview, Trump replied: “It is what it is.” This project takes its title from that callous dismissal. Each book—one for each year of the first three years Trump’s presidency and two for 2020—opens with that year’s cards then ends with a textual log of the transgressions to which each card is assigned (2020 is split into two volumes—one for cards and the other for texts). The texts are succinct and as neutral as possible (researched from sources such as The Guardian, Washington Post, Politifact, Govtrack.us and the New York Times). There are over 10,000 cards and more than 500,000 words. Together the books will exceed 1500 pages. It Is What It Is asks readers to confront the erasure that results from the daily assault from the Trump administration: What do we remember? What have become inured to? What shocks us out of our complacency, our fatigue? How does memory shape our experience of what seemed impossible almost four years ago? The project is as much a confrontation with the facts and the phenomenon of a Trump presidency as it is a vast, informational graphic work, an artifact of the darkest days, and a durational work of art. It marries futility with vigilance, outrage with humor and beauty. Further information can be found at Siglio Press. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1617739492992-WQJZOCTN1RKR9GXZA5TR/Text+Pages+1+copy.jpg It Is What It Is It Is What It Is is a response to and a catalog of Donald Trump’s presidency. It is a daily reckoning, a refusal of normalcy, a bulwark against forgetting, a work of art that creates an unrelenting record of Trump’s ignominious four years in office, while also transforming it—in the crucible of dark humor—into something quite beautiful. The project’s second iteration is a set of daily drawings consisting of hand-painted cards mounted on board. Each drawing represents one day of Trump’s presidency and is accompanied by a print with annotations for each card. In soccer, yellow signifies a warning. Red is for more serious offenses—ones for which a player should be dismissed. (The futility and absurdity of assigning these cards to Trump is part of the point—what power does a referee hold when norms, fairness, and justice have been eviscerated? And yet, the referee goes on . . .) Quite soon after inauguration, more colors were added for a variety of infractions: magenta for especially egregious transgressions, orange for days Trump spent at his golf courses (there are over 300), pink for those who played golf with him (sycophants!), and dark blue when someone in the administration was fired or resigned ("fuck you as you go" cards). On April 23, 2020, when Trump suggested curing COVID by injecting bleach into the body, a purple card was added for the most shocking moments. In September 2020 when he repeatedly refused to agree to a peaceful transfer of power should he lose his re-election bid, another level of card, crimson, became necessary. There are also, conversely, teal cards throughout honoring acts of resistance. When asked about COVID’s staggering daily death toll by journalist Jonathan Swan in a September 3, 2020 interview, Trump replied: “It is what it is.” This project takes its title from that callous dismissal. Each book—one for each year of the first three years Trump’s presidency and two for 2020—opens with that year’s cards then ends with a textual log of the transgressions to which each card is assigned (2020 is split into two volumes—one for cards and the other for texts). The texts are succinct and as neutral as possible (researched from sources such as The Guardian, Washington Post, Politifact, Govtrack.us and the New York Times). There are over 10,000 cards and more than 500,000 words. Together the books will exceed 1500 pages. It Is What It Is asks readers to confront the erasure that results from the daily assault from the Trump administration: What do we remember? What have become inured to? What shocks us out of our complacency, our fatigue? How does memory shape our experience of what seemed impossible almost four years ago? The project is as much a confrontation with the facts and the phenomenon of a Trump presidency as it is a vast, informational graphic work, an artifact of the darkest days, and a durational work of art. It marries futility with vigilance, outrage with humor and beauty. Further information can be found at Siglio Press. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1600717724459-LNCCQ8GNZ4R1ZO8MCSRQ/Text+Pages+2.jpg It Is What It Is It Is What It Is is a response to and a catalog of Donald Trump’s presidency. It is a daily reckoning, a refusal of normalcy, a bulwark against forgetting, a work of art that creates an unrelenting record of Trump’s ignominious four years in office, while also transforming it—in the crucible of dark humor—into something quite beautiful. The project’s second iteration is a set of daily drawings consisting of hand-painted cards mounted on board. Each drawing represents one day of Trump’s presidency and is accompanied by a print with annotations for each card. In soccer, yellow signifies a warning. Red is for more serious offenses—ones for which a player should be dismissed. (The futility and absurdity of assigning these cards to Trump is part of the point—what power does a referee hold when norms, fairness, and justice have been eviscerated? And yet, the referee goes on . . .) Quite soon after inauguration, more colors were added for a variety of infractions: magenta for especially egregious transgressions, orange for days Trump spent at his golf courses (there are over 300), pink for those who played golf with him (sycophants!), and dark blue when someone in the administration was fired or resigned ("fuck you as you go" cards). On April 23, 2020, when Trump suggested curing COVID by injecting bleach into the body, a purple card was added for the most shocking moments. In September 2020 when he repeatedly refused to agree to a peaceful transfer of power should he lose his re-election bid, another level of card, crimson, became necessary. There are also, conversely, teal cards throughout honoring acts of resistance. When asked about COVID’s staggering daily death toll by journalist Jonathan Swan in a September 3, 2020 interview, Trump replied: “It is what it is.” This project takes its title from that callous dismissal. Each book—one for each year of the first three years Trump’s presidency and two for 2020—opens with that year’s cards then ends with a textual log of the transgressions to which each card is assigned (2020 is split into two volumes—one for cards and the other for texts). The texts are succinct and as neutral as possible (researched from sources such as The Guardian, Washington Post, Politifact, Govtrack.us and the New York Times). There are over 10,000 cards and more than 500,000 words. Together the books will exceed 1500 pages. It Is What It Is asks readers to confront the erasure that results from the daily assault from the Trump administration: What do we remember? What have become inured to? What shocks us out of our complacency, our fatigue? How does memory shape our experience of what seemed impossible almost four years ago? The project is as much a confrontation with the facts and the phenomenon of a Trump presidency as it is a vast, informational graphic work, an artifact of the darkest days, and a durational work of art. It marries futility with vigilance, outrage with humor and beauty. Further information can be found at Siglio Press. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1600717530225-AVNJK4U45YU64BF2OP37/Text+Pages+1.jpg It Is What It Is It Is What It Is is a response to and a catalog of Donald Trump’s presidency. It is a daily reckoning, a refusal of normalcy, a bulwark against forgetting, a work of art that creates an unrelenting record of Trump’s ignominious four years in office, while also transforming it—in the crucible of dark humor—into something quite beautiful. The project’s second iteration is a set of daily drawings consisting of hand-painted cards mounted on board. Each drawing represents one day of Trump’s presidency and is accompanied by a print with annotations for each card. In soccer, yellow signifies a warning. Red is for more serious offenses—ones for which a player should be dismissed. (The futility and absurdity of assigning these cards to Trump is part of the point—what power does a referee hold when norms, fairness, and justice have been eviscerated? And yet, the referee goes on . . .) Quite soon after inauguration, more colors were added for a variety of infractions: magenta for especially egregious transgressions, orange for days Trump spent at his golf courses (there are over 300), pink for those who played golf with him (sycophants!), and dark blue when someone in the administration was fired or resigned ("fuck you as you go" cards). On April 23, 2020, when Trump suggested curing COVID by injecting bleach into the body, a purple card was added for the most shocking moments. In September 2020 when he repeatedly refused to agree to a peaceful transfer of power should he lose his re-election bid, another level of card, crimson, became necessary. There are also, conversely, teal cards throughout honoring acts of resistance. When asked about COVID’s staggering daily death toll by journalist Jonathan Swan in a September 3, 2020 interview, Trump replied: “It is what it is.” This project takes its title from that callous dismissal. Each book—one for each year of the first three years Trump’s presidency and two for 2020—opens with that year’s cards then ends with a textual log of the transgressions to which each card is assigned (2020 is split into two volumes—one for cards and the other for texts). The texts are succinct and as neutral as possible (researched from sources such as The Guardian, Washington Post, Politifact, Govtrack.us and the New York Times). There are over 10,000 cards and more than 500,000 words. Together the books will exceed 1500 pages. It Is What It Is asks readers to confront the erasure that results from the daily assault from the Trump administration: What do we remember? What have become inured to? What shocks us out of our complacency, our fatigue? How does memory shape our experience of what seemed impossible almost four years ago? The project is as much a confrontation with the facts and the phenomenon of a Trump presidency as it is a vast, informational graphic work, an artifact of the darkest days, and a durational work of art. It marries futility with vigilance, outrage with humor and beauty. Further information can be found at Siglio Press. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1600724407861-UUGVWGMCBQCPXEUSB9H3/Text+Pages+6+copy.jpg It Is What It Is It Is What It Is is a response to and a catalog of Donald Trump’s presidency. It is a daily reckoning, a refusal of normalcy, a bulwark against forgetting, a work of art that creates an unrelenting record of Trump’s ignominious four years in office, while also transforming it—in the crucible of dark humor—into something quite beautiful. The project’s second iteration is a set of daily drawings consisting of hand-painted cards mounted on board. Each drawing represents one day of Trump’s presidency and is accompanied by a print with annotations for each card. In soccer, yellow signifies a warning. Red is for more serious offenses—ones for which a player should be dismissed. (The futility and absurdity of assigning these cards to Trump is part of the point—what power does a referee hold when norms, fairness, and justice have been eviscerated? And yet, the referee goes on . . .) Quite soon after inauguration, more colors were added for a variety of infractions: magenta for especially egregious transgressions, orange for days Trump spent at his golf courses (there are over 300), pink for those who played golf with him (sycophants!), and dark blue when someone in the administration was fired or resigned ("fuck you as you go" cards). On April 23, 2020, when Trump suggested curing COVID by injecting bleach into the body, a purple card was added for the most shocking moments. In September 2020 when he repeatedly refused to agree to a peaceful transfer of power should he lose his re-election bid, another level of card, crimson, became necessary. There are also, conversely, teal cards throughout honoring acts of resistance. When asked about COVID’s staggering daily death toll by journalist Jonathan Swan in a September 3, 2020 interview, Trump replied: “It is what it is.” This project takes its title from that callous dismissal. Each book—one for each year of the first three years Trump’s presidency and two for 2020—opens with that year’s cards then ends with a textual log of the transgressions to which each card is assigned (2020 is split into two volumes—one for cards and the other for texts). The texts are succinct and as neutral as possible (researched from sources such as The Guardian, Washington Post, Politifact, Govtrack.us and the New York Times). There are over 10,000 cards and more than 500,000 words. Together the books will exceed 1500 pages. It Is What It Is asks readers to confront the erasure that results from the daily assault from the Trump administration: What do we remember? What have become inured to? What shocks us out of our complacency, our fatigue? How does memory shape our experience of what seemed impossible almost four years ago? The project is as much a confrontation with the facts and the phenomenon of a Trump presidency as it is a vast, informational graphic work, an artifact of the darkest days, and a durational work of art. It marries futility with vigilance, outrage with humor and beauty. Further information can be found at Siglio Press. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1600727273554-AKHHHNC70ZGRY66588VD/Text+Pages+6+-text+copy.jpg It Is What It Is It Is What It Is is a response to and a catalog of Donald Trump’s presidency. It is a daily reckoning, a refusal of normalcy, a bulwark against forgetting, a work of art that creates an unrelenting record of Trump’s ignominious four years in office, while also transforming it—in the crucible of dark humor—into something quite beautiful. The project’s second iteration is a set of daily drawings consisting of hand-painted cards mounted on board. Each drawing represents one day of Trump’s presidency and is accompanied by a print with annotations for each card. In soccer, yellow signifies a warning. Red is for more serious offenses—ones for which a player should be dismissed. (The futility and absurdity of assigning these cards to Trump is part of the point—what power does a referee hold when norms, fairness, and justice have been eviscerated? And yet, the referee goes on . . .) Quite soon after inauguration, more colors were added for a variety of infractions: magenta for especially egregious transgressions, orange for days Trump spent at his golf courses (there are over 300), pink for those who played golf with him (sycophants!), and dark blue when someone in the administration was fired or resigned ("fuck you as you go" cards). On April 23, 2020, when Trump suggested curing COVID by injecting bleach into the body, a purple card was added for the most shocking moments. In September 2020 when he repeatedly refused to agree to a peaceful transfer of power should he lose his re-election bid, another level of card, crimson, became necessary. There are also, conversely, teal cards throughout honoring acts of resistance. When asked about COVID’s staggering daily death toll by journalist Jonathan Swan in a September 3, 2020 interview, Trump replied: “It is what it is.” This project takes its title from that callous dismissal. Each book—one for each year of the first three years Trump’s presidency and two for 2020—opens with that year’s cards then ends with a textual log of the transgressions to which each card is assigned (2020 is split into two volumes—one for cards and the other for texts). The texts are succinct and as neutral as possible (researched from sources such as The Guardian, Washington Post, Politifact, Govtrack.us and the New York Times). There are over 10,000 cards and more than 500,000 words. Together the books will exceed 1500 pages. It Is What It Is asks readers to confront the erasure that results from the daily assault from the Trump administration: What do we remember? What have become inured to? What shocks us out of our complacency, our fatigue? How does memory shape our experience of what seemed impossible almost four years ago? The project is as much a confrontation with the facts and the phenomenon of a Trump presidency as it is a vast, informational graphic work, an artifact of the darkest days, and a durational work of art. It marries futility with vigilance, outrage with humor and beauty. Further information can be found at Siglio Press. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1600724450368-35ZTQKEELPXGPNUVQZ72/Text+Pages+8+copy.jpg It Is What It Is It Is What It Is is a response to and a catalog of Donald Trump’s presidency. It is a daily reckoning, a refusal of normalcy, a bulwark against forgetting, a work of art that creates an unrelenting record of Trump’s ignominious four years in office, while also transforming it—in the crucible of dark humor—into something quite beautiful. The project’s second iteration is a set of daily drawings consisting of hand-painted cards mounted on board. Each drawing represents one day of Trump’s presidency and is accompanied by a print with annotations for each card. In soccer, yellow signifies a warning. Red is for more serious offenses—ones for which a player should be dismissed. (The futility and absurdity of assigning these cards to Trump is part of the point—what power does a referee hold when norms, fairness, and justice have been eviscerated? And yet, the referee goes on . . .) Quite soon after inauguration, more colors were added for a variety of infractions: magenta for especially egregious transgressions, orange for days Trump spent at his golf courses (there are over 300), pink for those who played golf with him (sycophants!), and dark blue when someone in the administration was fired or resigned ("fuck you as you go" cards). On April 23, 2020, when Trump suggested curing COVID by injecting bleach into the body, a purple card was added for the most shocking moments. In September 2020 when he repeatedly refused to agree to a peaceful transfer of power should he lose his re-election bid, another level of card, crimson, became necessary. There are also, conversely, teal cards throughout honoring acts of resistance. When asked about COVID’s staggering daily death toll by journalist Jonathan Swan in a September 3, 2020 interview, Trump replied: “It is what it is.” This project takes its title from that callous dismissal. Each book—one for each year of the first three years Trump’s presidency and two for 2020—opens with that year’s cards then ends with a textual log of the transgressions to which each card is assigned (2020 is split into two volumes—one for cards and the other for texts). The texts are succinct and as neutral as possible (researched from sources such as The Guardian, Washington Post, Politifact, Govtrack.us and the New York Times). There are over 10,000 cards and more than 500,000 words. Together the books will exceed 1500 pages. It Is What It Is asks readers to confront the erasure that results from the daily assault from the Trump administration: What do we remember? What have become inured to? What shocks us out of our complacency, our fatigue? How does memory shape our experience of what seemed impossible almost four years ago? The project is as much a confrontation with the facts and the phenomenon of a Trump presidency as it is a vast, informational graphic work, an artifact of the darkest days, and a durational work of art. It marries futility with vigilance, outrage with humor and beauty. Further information can be found at Siglio Press. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1617723478980-C3FRGK7E90P4NO6SPH3Q/Siglio-It-Is-What-It-Is-Book-3D-Complete-Set.jpg It Is What It Is It Is What It Is is a response to and a catalog of Donald Trump’s presidency. The projects first iteration is a multi-volume set of books which present over ten thousand colored cards for Trump’s words and actions. It is a daily reckoning, a refusal of normalcy, a bulwark against forgetting, a work of art that creates an unrelenting record of Trump’s ignominious four years in office, while also transforming it—in the crucible of dark humor—into something quite beautiful. In soccer, yellow signifies a warning. Red is for more serious offenses—ones for which a player should be dismissed. (The futility and absurdity of assigning these cards to Trump is part of the point—what power does a referee hold when norms, fairness, and justice have been eviscerated? And yet, the referee goes on . . .) Quite soon after inauguration, more colors were added for a variety of infractions: magenta for especially egregious transgressions, orange for days Trump spent at his golf courses (there are over 300), pink for those who played golf with him (sycophants!), and dark blue when someone in the administration was fired or resigned ("fuck you as you go" cards). On April 23, 2020, when Trump suggested curing COVID by injecting bleach into the body, a purple card was added for the most shocking moments. In September 2020 when he repeatedly refused to agree to a peaceful transfer of power should he lose his re-election bid, another level of card, crimson, became necessary. There are also, conversely, teal cards throughout honoring acts of resistance. When asked about COVID’s staggering daily death toll by journalist Jonathan Swan in a September 3, 2020 interview, Trump replied: “It is what it is.” This project takes its title from that callous dismissal. Each book—one for each year of the first three years Trump’s presidency and two for 2020—opens with that year’s cards then ends with a textual log of the transgressions to which each card is assigned (2020 is split into two volumes—one for cards and the other for texts). The texts are succinct and as neutral as possible (researched from sources such as The Guardian, Washington Post, Politifact, Govtrack.us and the New York Times). There are over 10,000 cards and more than 500,000 words. Together the books will exceed 1500 pages. It Is What It Is asks readers to confront the erasure that results from the daily assault from the Trump administration: What do we remember? What have become inured to? What shocks us out of our complacency, our fatigue? How does memory shape our experience of what seemed impossible almost four years ago? The project is as much a confrontation with the facts and the phenomenon of a Trump presidency as it is a vast, informational graphic work, an artifact of the darkest days, and a durational work of art. It marries futility with vigilance, outrage with humor and beauty. Further information can be found at Siglio Press. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1600724427623-R1L3Q01PT10G8QT33EV2/Text+Pages+7+copy.jpg It Is What It Is It Is What It Is is a response to and a catalog of Donald Trump’s presidency. It is a daily reckoning, a refusal of normalcy, a bulwark against forgetting, a work of art that creates an unrelenting record of Trump’s ignominious four years in office, while also transforming it—in the crucible of dark humor—into something quite beautiful. The project’s second iteration is a set of daily drawings consisting of hand-painted cards mounted on board. Each drawing represents one day of Trump’s presidency and is accompanied by a print with annotations for each card. In soccer, yellow signifies a warning. Red is for more serious offenses—ones for which a player should be dismissed. (The futility and absurdity of assigning these cards to Trump is part of the point—what power does a referee hold when norms, fairness, and justice have been eviscerated? And yet, the referee goes on . . .) Quite soon after inauguration, more colors were added for a variety of infractions: magenta for especially egregious transgressions, orange for days Trump spent at his golf courses (there are over 300), pink for those who played golf with him (sycophants!), and dark blue when someone in the administration was fired or resigned ("fuck you as you go" cards). On April 23, 2020, when Trump suggested curing COVID by injecting bleach into the body, a purple card was added for the most shocking moments. In September 2020 when he repeatedly refused to agree to a peaceful transfer of power should he lose his re-election bid, another level of card, crimson, became necessary. There are also, conversely, teal cards throughout honoring acts of resistance. When asked about COVID’s staggering daily death toll by journalist Jonathan Swan in a September 3, 2020 interview, Trump replied: “It is what it is.” This project takes its title from that callous dismissal. Each book—one for each year of the first three years Trump’s presidency and two for 2020—opens with that year’s cards then ends with a textual log of the transgressions to which each card is assigned (2020 is split into two volumes—one for cards and the other for texts). The texts are succinct and as neutral as possible (researched from sources such as The Guardian, Washington Post, Politifact, Govtrack.us and the New York Times). There are over 10,000 cards and more than 500,000 words. Together the books will exceed 1500 pages. It Is What It Is asks readers to confront the erasure that results from the daily assault from the Trump administration: What do we remember? What have become inured to? What shocks us out of our complacency, our fatigue? How does memory shape our experience of what seemed impossible almost four years ago? The project is as much a confrontation with the facts and the phenomenon of a Trump presidency as it is a vast, informational graphic work, an artifact of the darkest days, and a durational work of art. It marries futility with vigilance, outrage with humor and beauty. Further information can be found at Siglio Press. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1600724482387-2U0J1CEYYLCERA9X6TMU/Text+Pages+10+copy.jpg It Is What It Is It Is What It Is is a response to and a catalog of Donald Trump’s presidency. It is a daily reckoning, a refusal of normalcy, a bulwark against forgetting, a work of art that creates an unrelenting record of Trump’s ignominious four years in office, while also transforming it—in the crucible of dark humor—into something quite beautiful. The project’s second iteration is a set of daily drawings consisting of hand-painted cards mounted on board. Each drawing represents one day of Trump’s presidency and is accompanied by a print with annotations for each card. In soccer, yellow signifies a warning. Red is for more serious offenses—ones for which a player should be dismissed. (The futility and absurdity of assigning these cards to Trump is part of the point—what power does a referee hold when norms, fairness, and justice have been eviscerated? And yet, the referee goes on . . .) Quite soon after inauguration, more colors were added for a variety of infractions: magenta for especially egregious transgressions, orange for days Trump spent at his golf courses (there are over 300), pink for those who played golf with him (sycophants!), and dark blue when someone in the administration was fired or resigned ("fuck you as you go" cards). On April 23, 2020, when Trump suggested curing COVID by injecting bleach into the body, a purple card was added for the most shocking moments. In September 2020 when he repeatedly refused to agree to a peaceful transfer of power should he lose his re-election bid, another level of card, crimson, became necessary. There are also, conversely, teal cards throughout honoring acts of resistance. When asked about COVID’s staggering daily death toll by journalist Jonathan Swan in a September 3, 2020 interview, Trump replied: “It is what it is.” This project takes its title from that callous dismissal. Each book—one for each year of the first three years Trump’s presidency and two for 2020—opens with that year’s cards then ends with a textual log of the transgressions to which each card is assigned (2020 is split into two volumes—one for cards and the other for texts). The texts are succinct and as neutral as possible (researched from sources such as The Guardian, Washington Post, Politifact, Govtrack.us and the New York Times). There are over 10,000 cards and more than 500,000 words. Together the books will exceed 1500 pages. It Is What It Is asks readers to confront the erasure that results from the daily assault from the Trump administration: What do we remember? What have become inured to? What shocks us out of our complacency, our fatigue? How does memory shape our experience of what seemed impossible almost four years ago? The project is as much a confrontation with the facts and the phenomenon of a Trump presidency as it is a vast, informational graphic work, an artifact of the darkest days, and a durational work of art. It marries futility with vigilance, outrage with humor and beauty. Further information can be found at Siglio Press. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1600724465537-B6AH0GEKYJYWJPI9N5F1/Text+Pages+9+copy.jpg It Is What It Is It Is What It Is is a response to and a catalog of Donald Trump’s presidency. It is a daily reckoning, a refusal of normalcy, a bulwark against forgetting, a work of art that creates an unrelenting record of Trump’s ignominious four years in office, while also transforming it—in the crucible of dark humor—into something quite beautiful. The project’s second iteration is a set of daily drawings consisting of hand-painted cards mounted on board. Each drawing represents one day of Trump’s presidency and is accompanied by a print with annotations for each card. In soccer, yellow signifies a warning. Red is for more serious offenses—ones for which a player should be dismissed. (The futility and absurdity of assigning these cards to Trump is part of the point—what power does a referee hold when norms, fairness, and justice have been eviscerated? And yet, the referee goes on . . .) Quite soon after inauguration, more colors were added for a variety of infractions: magenta for especially egregious transgressions, orange for days Trump spent at his golf courses (there are over 300), pink for those who played golf with him (sycophants!), and dark blue when someone in the administration was fired or resigned ("fuck you as you go" cards). On April 23, 2020, when Trump suggested curing COVID by injecting bleach into the body, a purple card was added for the most shocking moments. In September 2020 when he repeatedly refused to agree to a peaceful transfer of power should he lose his re-election bid, another level of card, crimson, became necessary. There are also, conversely, teal cards throughout honoring acts of resistance. When asked about COVID’s staggering daily death toll by journalist Jonathan Swan in a September 3, 2020 interview, Trump replied: “It is what it is.” This project takes its title from that callous dismissal. Each book—one for each year of the first three years Trump’s presidency and two for 2020—opens with that year’s cards then ends with a textual log of the transgressions to which each card is assigned (2020 is split into two volumes—one for cards and the other for texts). The texts are succinct and as neutral as possible (researched from sources such as The Guardian, Washington Post, Politifact, Govtrack.us and the New York Times). There are over 10,000 cards and more than 500,000 words. Together the books will exceed 1500 pages. It Is What It Is asks readers to confront the erasure that results from the daily assault from the Trump administration: What do we remember? What have become inured to? What shocks us out of our complacency, our fatigue? How does memory shape our experience of what seemed impossible almost four years ago? The project is as much a confrontation with the facts and the phenomenon of a Trump presidency as it is a vast, informational graphic work, an artifact of the darkest days, and a durational work of art. It marries futility with vigilance, outrage with humor and beauty. Further information can be found at Siglio Press. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1600724587562-KYARA5M8WEREFYGPH2TY/Text+Pages+14.jpg It Is What It Is It Is What It Is is a response to and a catalog of Donald Trump’s presidency. It is a daily reckoning, a refusal of normalcy, a bulwark against forgetting, a work of art that creates an unrelenting record of Trump’s ignominious four years in office, while also transforming it—in the crucible of dark humor—into something quite beautiful. The project’s second iteration is a set of daily drawings consisting of hand-painted cards mounted on board. Each drawing represents one day of Trump’s presidency and is accompanied by a print with annotations for each card. In soccer, yellow signifies a warning. Red is for more serious offenses—ones for which a player should be dismissed. (The futility and absurdity of assigning these cards to Trump is part of the point—what power does a referee hold when norms, fairness, and justice have been eviscerated? And yet, the referee goes on . . .) Quite soon after inauguration, more colors were added for a variety of infractions: magenta for especially egregious transgressions, orange for days Trump spent at his golf courses (there are over 300), pink for those who played golf with him (sycophants!), and dark blue when someone in the administration was fired or resigned ("fuck you as you go" cards). On April 23, 2020, when Trump suggested curing COVID by injecting bleach into the body, a purple card was added for the most shocking moments. In September 2020 when he repeatedly refused to agree to a peaceful transfer of power should he lose his re-election bid, another level of card, crimson, became necessary. There are also, conversely, teal cards throughout honoring acts of resistance. When asked about COVID’s staggering daily death toll by journalist Jonathan Swan in a September 3, 2020 interview, Trump replied: “It is what it is.” This project takes its title from that callous dismissal. Each book—one for each year of the first three years Trump’s presidency and two for 2020—opens with that year’s cards then ends with a textual log of the transgressions to which each card is assigned (2020 is split into two volumes—one for cards and the other for texts). The texts are succinct and as neutral as possible (researched from sources such as The Guardian, Washington Post, Politifact, Govtrack.us and the New York Times). There are over 10,000 cards and more than 500,000 words. Together the books will exceed 1500 pages. It Is What It Is asks readers to confront the erasure that results from the daily assault from the Trump administration: What do we remember? What have become inured to? What shocks us out of our complacency, our fatigue? How does memory shape our experience of what seemed impossible almost four years ago? The project is as much a confrontation with the facts and the phenomenon of a Trump presidency as it is a vast, informational graphic work, an artifact of the darkest days, and a durational work of art. It marries futility with vigilance, outrage with humor and beauty. Further information can be found at Siglio Press. https://static1.squarespace.com/static/546a9658e4b0af39afadb762/5f6901f0d631067422e29341/5f690203486b51471c7d2b9f/1600717363906/ It Is What It Is https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1600724531812-ATB7AP4IQHDGQY74QMKG/Text+Pages+13+copy.jpg It Is What It Is It Is What It Is is a response to and a catalog of Donald Trump’s presidency. It is a daily reckoning, a refusal of normalcy, a bulwark against forgetting, a work of art that creates an unrelenting record of Trump’s ignominious four years in office, while also transforming it—in the crucible of dark humor—into something quite beautiful. The project’s second iteration is a set of daily drawings consisting of hand-painted cards mounted on board. Each drawing represents one day of Trump’s presidency and is accompanied by a print with annotations for each card. In soccer, yellow signifies a warning. Red is for more serious offenses—ones for which a player should be dismissed. (The futility and absurdity of assigning these cards to Trump is part of the point—what power does a referee hold when norms, fairness, and justice have been eviscerated? And yet, the referee goes on . . .) Quite soon after inauguration, more colors were added for a variety of infractions: magenta for especially egregious transgressions, orange for days Trump spent at his golf courses (there are over 300), pink for those who played golf with him (sycophants!), and dark blue when someone in the administration was fired or resigned ("fuck you as you go" cards). On April 23, 2020, when Trump suggested curing COVID by injecting bleach into the body, a purple card was added for the most shocking moments. In September 2020 when he repeatedly refused to agree to a peaceful transfer of power should he lose his re-election bid, another level of card, crimson, became necessary. There are also, conversely, teal cards throughout honoring acts of resistance. When asked about COVID’s staggering daily death toll by journalist Jonathan Swan in a September 3, 2020 interview, Trump replied: “It is what it is.” This project takes its title from that callous dismissal. Each book—one for each year of the first three years Trump’s presidency and two for 2020—opens with that year’s cards then ends with a textual log of the transgressions to which each card is assigned (2020 is split into two volumes—one for cards and the other for texts). The texts are succinct and as neutral as possible (researched from sources such as The Guardian, Washington Post, Politifact, Govtrack.us and the New York Times). There are over 10,000 cards and more than 500,000 words. Together the books will exceed 1500 pages. It Is What It Is asks readers to confront the erasure that results from the daily assault from the Trump administration: What do we remember? What have become inured to? What shocks us out of our complacency, our fatigue? How does memory shape our experience of what seemed impossible almost four years ago? The project is as much a confrontation with the facts and the phenomenon of a Trump presidency as it is a vast, informational graphic work, an artifact of the darkest days, and a durational work of art. It marries futility with vigilance, outrage with humor and beauty. Further information can be found at Siglio Press. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1600790516618-CEOR8FL3R7TLUAJXNSYW/Text+Pages+44+copy.jpg It Is What It Is It Is What It Is is a response to and a catalog of Donald Trump’s presidency. It is a daily reckoning, a refusal of normalcy, a bulwark against forgetting, a work of art that creates an unrelenting record of Trump’s ignominious four years in office, while also transforming it—in the crucible of dark humor—into something quite beautiful. The project’s second iteration is a set of daily drawings consisting of hand-painted cards mounted on board. Each drawing represents one day of Trump’s presidency and is accompanied by a print with annotations for each card. In soccer, yellow signifies a warning. Red is for more serious offenses—ones for which a player should be dismissed. (The futility and absurdity of assigning these cards to Trump is part of the point—what power does a referee hold when norms, fairness, and justice have been eviscerated? And yet, the referee goes on . . .) Quite soon after inauguration, more colors were added for a variety of infractions: magenta for especially egregious transgressions, orange for days Trump spent at his golf courses (there are over 300), pink for those who played golf with him (sycophants!), and dark blue when someone in the administration was fired or resigned ("fuck you as you go" cards). On April 23, 2020, when Trump suggested curing COVID by injecting bleach into the body, a purple card was added for the most shocking moments. In September 2020 when he repeatedly refused to agree to a peaceful transfer of power should he lose his re-election bid, another level of card, crimson, became necessary. There are also, conversely, teal cards throughout honoring acts of resistance. When asked about COVID’s staggering daily death toll by journalist Jonathan Swan in a September 3, 2020 interview, Trump replied: “It is what it is.” This project takes its title from that callous dismissal. Each book—one for each year of the first three years Trump’s presidency and two for 2020—opens with that year’s cards then ends with a textual log of the transgressions to which each card is assigned (2020 is split into two volumes—one for cards and the other for texts). The texts are succinct and as neutral as possible (researched from sources such as The Guardian, Washington Post, Politifact, Govtrack.us and the New York Times). There are over 10,000 cards and more than 500,000 words. Together the books will exceed 1500 pages. It Is What It Is asks readers to confront the erasure that results from the daily assault from the Trump administration: What do we remember? What have become inured to? What shocks us out of our complacency, our fatigue? How does memory shape our experience of what seemed impossible almost four years ago? The project is as much a confrontation with the facts and the phenomenon of a Trump presidency as it is a vast, informational graphic work, an artifact of the darkest days, and a durational work of art. It marries futility with vigilance, outrage with humor and beauty. Further information can be found at Siglio Press. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1600790540865-XRPQBHLDERFS0FVGYBWU/Text+Pages+43+copy.jpg It Is What It Is It Is What It Is is a response to and a catalog of Donald Trump’s presidency. It is a daily reckoning, a refusal of normalcy, a bulwark against forgetting, a work of art that creates an unrelenting record of Trump’s ignominious four years in office, while also transforming it—in the crucible of dark humor—into something quite beautiful. The project’s second iteration is a set of daily drawings consisting of hand-painted cards mounted on board. Each drawing represents one day of Trump’s presidency and is accompanied by a print with annotations for each card. In soccer, yellow signifies a warning. Red is for more serious offenses—ones for which a player should be dismissed. (The futility and absurdity of assigning these cards to Trump is part of the point—what power does a referee hold when norms, fairness, and justice have been eviscerated? And yet, the referee goes on . . .) Quite soon after inauguration, more colors were added for a variety of infractions: magenta for especially egregious transgressions, orange for days Trump spent at his golf courses (there are over 300), pink for those who played golf with him (sycophants!), and dark blue when someone in the administration was fired or resigned ("fuck you as you go" cards). On April 23, 2020, when Trump suggested curing COVID by injecting bleach into the body, a purple card was added for the most shocking moments. In September 2020 when he repeatedly refused to agree to a peaceful transfer of power should he lose his re-election bid, another level of card, crimson, became necessary. There are also, conversely, teal cards throughout honoring acts of resistance. When asked about COVID’s staggering daily death toll by journalist Jonathan Swan in a September 3, 2020 interview, Trump replied: “It is what it is.” This project takes its title from that callous dismissal. Each book—one for each year of the first three years Trump’s presidency and two for 2020—opens with that year’s cards then ends with a textual log of the transgressions to which each card is assigned (2020 is split into two volumes—one for cards and the other for texts). The texts are succinct and as neutral as possible (researched from sources such as The Guardian, Washington Post, Politifact, Govtrack.us and the New York Times). There are over 10,000 cards and more than 500,000 words. Together the books will exceed 1500 pages. It Is What It Is asks readers to confront the erasure that results from the daily assault from the Trump administration: What do we remember? What have become inured to? What shocks us out of our complacency, our fatigue? How does memory shape our experience of what seemed impossible almost four years ago? The project is as much a confrontation with the facts and the phenomenon of a Trump presidency as it is a vast, informational graphic work, an artifact of the darkest days, and a durational work of art. It marries futility with vigilance, outrage with humor and beauty. Further information can be found at Siglio Press. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1617742176652-TUZ6F19ZETBJQJ99J4PR/JAN_FEB_MARCH_2018_alt.jpg It Is What It Is It Is What It Is is a response to and a catalog of Donald Trump’s presidency. It is a daily reckoning, a refusal of normalcy, a bulwark against forgetting, a work of art that creates an unrelenting record of Trump’s ignominious four years in office, while also transforming it—in the crucible of dark humor—into something quite beautiful. The project’s second iteration is a set of daily drawings consisting of hand-painted cards mounted on board. Each drawing represents one day of Trump’s presidency and is accompanied by a print with annotations for each card. In soccer, yellow signifies a warning. Red is for more serious offenses—ones for which a player should be dismissed. (The futility and absurdity of assigning these cards to Trump is part of the point—what power does a referee hold when norms, fairness, and justice have been eviscerated? And yet, the referee goes on . . .) Quite soon after inauguration, more colors were added for a variety of infractions: magenta for especially egregious transgressions, orange for days Trump spent at his golf courses (there are over 300), pink for those who played golf with him (sycophants!), and dark blue when someone in the administration was fired or resigned ("fuck you as you go" cards). On April 23, 2020, when Trump suggested curing COVID by injecting bleach into the body, a purple card was added for the most shocking moments. In September 2020 when he repeatedly refused to agree to a peaceful transfer of power should he lose his re-election bid, another level of card, crimson, became necessary. There are also, conversely, teal cards throughout honoring acts of resistance. When asked about COVID’s staggering daily death toll by journalist Jonathan Swan in a September 3, 2020 interview, Trump replied: “It is what it is.” This project takes its title from that callous dismissal. Each book—one for each year of the first three years Trump’s presidency and two for 2020—opens with that year’s cards then ends with a textual log of the transgressions to which each card is assigned (2020 is split into two volumes—one for cards and the other for texts). The texts are succinct and as neutral as possible (researched from sources such as The Guardian, Washington Post, Politifact, Govtrack.us and the New York Times). There are over 10,000 cards and more than 500,000 words. Together the books will exceed 1500 pages. It Is What It Is asks readers to confront the erasure that results from the daily assault from the Trump administration: What do we remember? What have become inured to? What shocks us out of our complacency, our fatigue? How does memory shape our experience of what seemed impossible almost four years ago? The project is as much a confrontation with the facts and the phenomenon of a Trump presidency as it is a vast, informational graphic work, an artifact of the darkest days, and a durational work of art. It marries futility with vigilance, outrage with humor and beauty. Further information can be found at Siglio Press. http://www.richardkraft.net/psalms-at-the-end-of-the-world daily 1.0 2025-10-27 https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1666547422015-Q20MSADR2H6ZD4HJXVMO/image-asset.jpeg Psalms at the End of the World - Psalms at the End of the World (No. 2 Barge) Psalms at the End of the World is an ongoing suite of films. Each film is constructed through a layering of fragments. The result is akin to “what Dante describes at the end of “Paradiso” when all the pages and all the leaves of the Cumaean Sybil fly through the air and are gathered into one single book, a chaos of knowledge forming itself into a coherence” as William Kentridge writes. At the same time, it is also related to the biblical story of the Tower of Babel in which the certainty of a single, shared language is replaced by cacophony, a sea of language in which no singular meaning or narrative can be discerned. The images I choose to work with are easily recognizable, often, things we encounter daily. I always think about how each clip will combine with others, what kind of admixture they will form. There is a kind of magic in this, an alchemy even. What begins as a collection of seemingly unrelated film clips is transmuted in the collage, exploding into new constellations. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1666547422015-Q20MSADR2H6ZD4HJXVMO/image-asset.jpeg Psalms at the End of the World - Psalms at the End of the World (No. 2 Barge) Psalms at the End of the World is an ongoing suite of films. Each film is constructed through a layering of fragments. The result is akin to “what Dante describes at the end of “Paradiso” when all the pages and all the leaves of the Cumaean Sybil fly through the air and are gathered into one single book, a chaos of knowledge forming itself into a coherence” as William Kentridge writes. At the same time, it is also related to the biblical story of the Tower of Babel in which the certainty of a single, shared language is replaced by cacophony, a sea of language in which no singular meaning or narrative can be discerned. The images I choose to work with are easily recognizable, often, things we encounter daily. I always think about how each clip will combine with others, what kind of admixture they will form. There is a kind of magic in this, an alchemy even. What begins as a collection of seemingly unrelated film clips is transmuted in the collage, exploding into new constellations. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1642103188287-JHVI0JZCW2XOJ15XIS2H/image-asset.png Psalms at the End of the World - Psalms at the End of the World, No. 8 Psalms at the End of the World is an ongoing suite of films. Each film is constructed through a layering of fragments. The result is akin to “what Dante describes at the end of “Paradiso” when all the pages and all the leaves of the Cumaean Sybil fly through the air and are gathered into one single book, a chaos of knowledge forming itself into a coherence” as William Kentridge writes. At the same time, it is also related to the biblical story of the Tower of Babel in which the certainty of a single, shared language is replaced by cacophony, a sea of language in which no singular meaning or narrative can be discerned. The images I choose to work with are easily recognizable, often, things we encounter daily. I always think about how each clip will combine with others, what kind of admixture they will form. There is a kind of magic in this, an alchemy even. What begins as a collection of seemingly unrelated film clips is transmuted in the collage, exploding into new constellations. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1666547308286-BLP7A8YBF2RX2WR6YS7N/image-asset.png Psalms at the End of the World - Psalms at the End of the World (No. 8 Flag) Psalms at the End of the World is an ongoing suite of films. Each film is constructed through a layering of fragments. The result is akin to “what Dante describes at the end of “Paradiso” when all the pages and all the leaves of the Cumaean Sybil fly through the air and are gathered into one single book, a chaos of knowledge forming itself into a coherence” as William Kentridge writes. At the same time, it is also related to the biblical story of the Tower of Babel in which the certainty of a single, shared language is replaced by cacophony, a sea of language in which no singular meaning or narrative can be discerned. The images I choose to work with are easily recognizable, often, things we encounter daily. I always think about how each clip will combine with others, what kind of admixture they will form. There is a kind of magic in this, an alchemy even. What begins as a collection of seemingly unrelated film clips is transmuted in the collage, exploding into new constellations. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1666547513693-VDBE3FBUEZUWJMYPSZA0/image-asset.jpeg Psalms at the End of the World - Psalms at the End of the World (No. 5 Nimbus) Psalms at the End of the World is an ongoing suite of films. Each film is constructed through a layering of fragments. The result is akin to “what Dante describes at the end of “Paradiso” when all the pages and all the leaves of the Cumaean Sybil fly through the air and are gathered into one single book, a chaos of knowledge forming itself into a coherence” as William Kentridge writes. At the same time, it is also related to the biblical story of the Tower of Babel in which the certainty of a single, shared language is replaced by cacophony, a sea of language in which no singular meaning or narrative can be discerned. The images I choose to work with are easily recognizable, often, things we encounter daily. I always think about how each clip will combine with others, what kind of admixture they will form. There is a kind of magic in this, an alchemy even. What begins as a collection of seemingly unrelated film clips is transmuted in the collage, exploding into new constellations. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1636831432057-5XGOTQY0TQRNKUYX87AD/image-asset.jpeg Psalms at the End of the World - Psalms at the End of the World, No. 1 Psalms at the End of the World is an ongoing suite of films. Each film is constructed through a layering of fragments. The result is akin to “what Dante describes at the end of “Paradiso” when all the pages and all the leaves of the Cumaean Sybil fly through the air and are gathered into one single book, a chaos of knowledge forming itself into a coherence” as William Kentridge writes. At the same time, it is also related to the biblical story of the Tower of Babel in which the certainty of a single, shared language is replaced by cacophony, a sea of language in which no singular meaning or narrative can be discerned. The images I choose to work with are easily recognizable, often, things we encounter daily. I always think about how each clip will combine with others, what kind of admixture they will form. There is a kind of magic in this, an alchemy even. What begins as a collection of seemingly unrelated film clips is transmuted in the collage, exploding into new constellations. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1610211498432-DOK1EJSHXM3J4HXDPV9S/image-asset.jpeg Psalms at the End of the World - Psalms for the End of the World, No. 1 https://static1.squarespace.com/static/546a9658e4b0af39afadb762/5ff8e575ed7f4f543ba924f0/5ff8e5a54decc12906ed6ddc/1610147346478/ Psalms at the End of the World http://www.richardkraft.net/which-is-to-say-installation-views daily 0.75 2021-04-06 https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1617722847745-9V2K8MVL1U4CZHC4YL7D/1.jpg Which Is to Say (Installation Views) Which Is To Say is an immersive, constantly evolving, ten channel video installation which was most recently exhibited at the Laguna Art Museum from October 27th, 2013 - February 2nd, 2014. Inspired by an observation by John Cage—"No need to move the camera. (Pictures will come to it.)" the videos are in effect and intention photographs which explore the essence of time. The piece aims to create a contemplative space in which the viewer’s experience of time both collapses and extends. Each shot has no particular beginning or ending, and ranges from one minute to an hour. The installation invokes the friction and fluidity between familiar polarities—human and animal, sacred and secular, culture and nature, gravity and lightness. Shot at locations throughout the United States, Europe and India, the work brushes apparently disparate things against each other, creating numerous relationships and juxtapositions and thus multiple interpretations and readings. For the most part the work is silent, however (very brief) sound is used periodically to interrupt the space and to add another layer of possible meaning to the piece. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1617722847745-9V2K8MVL1U4CZHC4YL7D/1.jpg Which Is to Say (Installation Views) Which Is To Say is an immersive, constantly evolving, ten channel video installation which was most recently exhibited at the Laguna Art Museum from October 27th, 2013 - February 2nd, 2014. Inspired by an observation by John Cage—"No need to move the camera. (Pictures will come to it.)" the videos are in effect and intention photographs which explore the essence of time. The piece aims to create a contemplative space in which the viewer’s experience of time both collapses and extends. Each shot has no particular beginning or ending, and ranges from one minute to an hour. The installation invokes the friction and fluidity between familiar polarities—human and animal, sacred and secular, culture and nature, gravity and lightness. Shot at locations throughout the United States, Europe and India, the work brushes apparently disparate things against each other, creating numerous relationships and juxtapositions and thus multiple interpretations and readings. For the most part the work is silent, however (very brief) sound is used periodically to interrupt the space and to add another layer of possible meaning to the piece. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1617722798857-5YJ6RJE3VY97XF6IXQXP/_DSC5368_sm.jpg Which Is to Say (Installation Views) Which Is To Say is an immersive, constantly evolving, ten channel video installation which was most recently exhibited at the Laguna Art Museum from October 27th, 2013 - February 2nd, 2014. Inspired by an observation by John Cage—"No need to move the camera. (Pictures will come to it.)" the videos are in effect and intention photographs which explore the essence of time. The piece aims to create a contemplative space in which the viewer’s experience of time both collapses and extends. Each shot has no particular beginning or ending, and ranges from one minute to an hour. The installation invokes the friction and fluidity between familiar polarities—human and animal, sacred and secular, culture and nature, gravity and lightness. Shot at locations throughout the United States, Europe and India, the work brushes apparently disparate things against each other, creating numerous relationships and juxtapositions and thus multiple interpretations and readings. For the most part the work is silent, however (very brief) sound is used periodically to interrupt the space and to add another layer of possible meaning to the piece. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1617722743662-3CUAJH7N6B5EJYHUUT5V/_DSC4937_sm.jpg Which Is to Say (Installation Views) Which Is To Say is an immersive, constantly evolving, ten channel video installation which was most recently exhibited at the Laguna Art Museum from October 27th, 2013 - February 2nd, 2014. Inspired by an observation by John Cage—"No need to move the camera. (Pictures will come to it.)" the videos are in effect and intention photographs which explore the essence of time. The piece aims to create a contemplative space in which the viewer’s experience of time both collapses and extends. Each shot has no particular beginning or ending, and ranges from one minute to an hour. The installation invokes the friction and fluidity between familiar polarities—human and animal, sacred and secular, culture and nature, gravity and lightness. Shot at locations throughout the United States, Europe and India, the work brushes apparently disparate things against each other, creating numerous relationships and juxtapositions and thus multiple interpretations and readings. For the most part the work is silent, however (very brief) sound is used periodically to interrupt the space and to add another layer of possible meaning to the piece. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1617722720781-N2C6DCV99COGHAZPD5YQ/_DSC4912.jpg Which Is to Say (Installation Views) Which Is To Say is an immersive, constantly evolving, ten channel video installation which was most recently exhibited at the Laguna Art Museum from October 27th, 2013 - February 2nd, 2014. Inspired by an observation by John Cage—"No need to move the camera. (Pictures will come to it.)" the videos are in effect and intention photographs which explore the essence of time. The piece aims to create a contemplative space in which the viewer’s experience of time both collapses and extends. Each shot has no particular beginning or ending, and ranges from one minute to an hour. The installation invokes the friction and fluidity between familiar polarities—human and animal, sacred and secular, culture and nature, gravity and lightness. Shot at locations throughout the United States, Europe and India, the work brushes apparently disparate things against each other, creating numerous relationships and juxtapositions and thus multiple interpretations and readings. For the most part the work is silent, however (very brief) sound is used periodically to interrupt the space and to add another layer of possible meaning to the piece. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1617722774465-99E5KVMI3UWO56JJJXLR/_DSC5109_alt.jpg Which Is to Say (Installation Views) Which Is To Say is an immersive, constantly evolving, ten channel video installation which was most recently exhibited at the Laguna Art Museum from October 27th, 2013 - February 2nd, 2014. Inspired by an observation by John Cage—"No need to move the camera. (Pictures will come to it.)" the videos are in effect and intention photographs which explore the essence of time. The piece aims to create a contemplative space in which the viewer’s experience of time both collapses and extends. Each shot has no particular beginning or ending, and ranges from one minute to an hour. The installation invokes the friction and fluidity between familiar polarities—human and animal, sacred and secular, culture and nature, gravity and lightness. Shot at locations throughout the United States, Europe and India, the work brushes apparently disparate things against each other, creating numerous relationships and juxtapositions and thus multiple interpretations and readings. For the most part the work is silent, however (very brief) sound is used periodically to interrupt the space and to add another layer of possible meaning to the piece. http://www.richardkraft.net/contact daily 0.75 2014-12-02 http://www.richardkraft.net/biography daily 0.75 2021-04-25 https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/1619126528767-WN62FS4039W7KSXSEXI2/IMG_4519_sm.jpg Biography http://www.richardkraft.net/danielle-dutton-and-richard-kraft daily 0.75 2015-02-18 http://www.richardkraft.net/ciarra-ennis-and-richard-kraft daily 0.75 2015-03-21 http://www.richardkraft.net/ann-lauterbach-and-richard-kraft-excerpt daily 0.75 2014-12-09 http://www.richardkraft.net/actsandfacts daily 0.75 2022-01-23 https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/c4b5fed6-07be-4a7a-87ea-025bdcaee29c/Full+Set_PG.jpg Acts & Facts - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/c47f71f1-8ba0-4f73-95c9-1d8a8a500127/Full+Set_AL.jpg Acts & Facts - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/12e59a69-1545-4457-8b27-45e3af88c73c/Full+Set_JL.jpg Acts & Facts - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/6599e5d9-b321-4b3e-b2e2-fdd5453de078/Full+Set_AM.jpg Acts & Facts - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/01b2e04c-16e9-43d6-8251-0298f72682e1/Full+Set_LP.jpg Acts & Facts - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/546a9658e4b0af39afadb762/8b601642-f364-44cf-9cfb-b7ad877a34de/Full+Set_TE.jpg Acts & Facts - Make it stand out Whatever it is, the way you tell your story online can make all the difference. http://www.richardkraft.net/shop daily 0.75 2025-05-12 http://www.richardkraft.net/shop/pixel-heart-changing-mug-84xrl monthly 0.5 2015-04-29 https://images.squarespace-cdn.com/content/v1/50130f1ae4b006ef41174e6b/1430322931898-7AI7X046AI3FGT94DIWE/ec48_pixel_heart_heat_changing_mug.gif Shop - Pixel Heart Changing Mug http://www.richardkraft.net/shop/perpetual-motion-machine-almost-x3zez monthly 0.5 2015-04-29 https://images.squarespace-cdn.com/content/v1/50130f1ae4b006ef41174e6b/1430322751769-ANDHPBD4VOE3FYYYLX63/hrom_solarbotics_perp_motion_kit.jpg Shop - Perpetual Motion Machine... 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