It is Sunday all over again and the world is a flutter with mother’s day sensation. The plethora of touching mother/child photographs everyone is posting on facebook, the emails, the phone calls, magazine covers and television advertisements. Even the florist in your grocery store has likely been staffed and stocked to the brim. The week’s content seems to resonate with this day, reflecting as it does on the easily overlooked but essential elements of every day life: community, loss, courage, house plants, children in museums, life on other planets, success stories, and why it might be alright to be a vulture after all.

We lost a dear colleague this month —

“A pioneer in green architecture and sustainable development, Kevin Kurtz Pierce, 55, of Chicago, IL, passed away May, 2, 2013, following a “lengthy argument,” as he drily referred to it, with glioblastoma multiforme. For the past 15 years Pierce specialized in sustainable design. Memorable projects include the Chicago Center for Green Technology, the city’s flagship green building and the first U.S. municipal structure to be certified “Platinum” by Leadership in Energy and Environmental Design (LEED). Additional award-winning structures include Bethel Center and the Chicago headquarters of Christy Webber Landscapes.”

Perhaps the only way to answer absence is through bravery and (a perhaps impossible) trust. Anthony Romero happened to post the very next day about courage :

“I don’t know how to be courageous. I don’t think that I am now but I know, at least I feel, that I must be in order to make it through this moment. Recent months have seen us, as Americans, wrestling with the baseline hatred and oppression that we had so naively believed we had moved beyond, a desire we know now to be a desperate fantasy. I believe Cornel West to be true when he tells us that courage will lead us to other virtues, other strengths that might enable us to not only make it through our time but to imagine a real alternative, a utopian dream no farther than our beds. What I mean to describe here is not a kind of free imagination but, as Žižek has described, “a matter of the innermost urgency”, an imagined alternative to a situation whose solution is so far outside the coordinates of the possible that one is forced to imagine an alternative space.”

Parrots (installation view), Jacopo Miliani (2008), Frutta Gallery

New post on PLANTS! from our new guest contributor, Faye Kahn:

“The houseplant’s original intention was for the interior decorator, whose profession hinges on the art of arrangement. Houseplants usually function as decoration in the home to soften our transition from nature to domestic space. It freshens the air, appeals to our aesthetic senses, & reminds us of idealized places we aren’t (outside). This relationship to interior decorating is recognized by many plant-wielding artists, including & exemplified by Claire Fontaine in her Interior Design for Bastards show (2009) whose statement immediately admits its awareness of  ’[t]he close and ambiguous relationship between art and decoration.’”

Are you interested in more plant convos? Because two more (no doubt of thousands that I am missing) come to mind 1) a great list of indoor houseplant art examples by Corinna Kirsch, and 2) an interview with Claudine Ise and Chicago’s own house plant photographer/sculptor Heidi Norton. Conclusion? Plants Are Trending and Kahn wants to know why.

Christopher Kardambikis, Squaring a Circle (detail), 2012. Multiple Digital Print on Paper. 100 feet.

Jeffrey Songco sends word from California by way of a great interview with S. Christopher Kardambikis:

“There are about nine people in the world who can pull off a Clark Kent outfit – you know, the button-down business shirt that is unbuttoned to reveal a giant S. Christopher Kardambikis is one of those people. The Superman reference can point to a number of things: Christopher’s dashing good looks, his nerd-level interest in comics, and/or his weakness to Kryptonite.”

Eric Asboe talks about the free day at the Walker Art Museum, May Day Parades, and Puppet Theaters in his post “Young At Heart: One View of the Twin Cities”:

Every first Saturday of the month, admission is free to the Walker Art Center with family oriented activities throughout the day. The activities not only make use of multiple areas of the museum, they are inspired by and derive from major exhibitions on view in the galleries. This month’s Free First Saturday, Some Assembly Required, was inspired by Abraham Cruzvillegas’s exhibition The Autoconstrucción Suites, which explores assemblage, local, found materials, and “self-construction,” utilizing “improvised building materials and techniques” when “materials become available and necessity dictates.” Artist Eric Syvertson guided children through making bird’s-eye views of their ideal landscapes, the maps of their ultimately functional worlds. Children were also invited to continue building and adding to the autoconstrucción begun by the Walker Teen Art Council. The changing, expanding structure juxtaposed the teens’ collages with children’s drawings and minimalist inspired tape paintings. In the most living of the autoconstruccións at the Walker, the structure became a new space of creation with the entrance of each child. The works they left behind continued to shape the space into which others entered and altered for their own needs.

Work by Jessica Taylor Caponigro, from the show “BLACK DAMP” at
Johalla Projects (1821 W. Hubbard St.)

TOP 5 Weekend PICKS courtesy of the ever magnanimous Stephanie Burke

SAIC students’ film is nominated for the Cannes Film Festival.

And here I am going to circle back around to the beginning of the week — because I want to end on the comic that Jeriah Hildwine included. Last Monday, Hildwine reflected on the meaning of community in the art world, suggesting we might learn something from Vampire bats:

So what, then, does the concept of community really mean within the context of the art world?  The answers that spring to mind come in the form of analogies:  the art world as ecosystem, the art world as family, the art world as neighborhood.  Any of these metaphors can provide insight into the nature and structure of a subculture, but they can also be misleading, as well as potentially offensive and therefore divisive:  the vulture is an invaluable part of the ecosystems it inhabits, but few would want to be called the vultures of the art world.

 

 

It’s a busy time of year and a busy week on top of it. MFA and BFA events left and right, writing and grading papers, final presentations, vacation plans, residency plans, devised escape attempts, and closing remarks. That’s right folks, summer is almost upon us. #huzza But let’s not get too far ahead of ourselves. This week in review —

Episode 400 y’all! Duncan and Richard published their road trip. What is estimated to be a five hour drive between St. Louis and Chicago was boiled down into a healthy 45-minute reduction of audio sauce. Get your fill of those fellas here.

“Peep this outtake from Kris Harzinski & Will Haughery’s May 26th exhibition at ACRE.” (WTT) 

Otherwise, some Monday T from our favorite gossip columnist, Dana Bassatt. Bassatt asks after G.R. N’Namdi Gallery’s vacated storefront, offers insider reportage about her Dinner Party field trip, and offers a great eye-spy on an easily overlooked building in all its freaky grandeur (shout out to Kokorokoko — this building seems right up your alley, perhaps?). All that and more here.

Colleen Asper, Bathroom Mirror with Rectangle, 2012.

I reposted a link to The Highlights: an online arts journal who’s latest issue presents blog works/art/articles that touch on labor, Marx, and biographical statements while presenting images of honey glazed turkey, black rectangles and to do lists.

Matts Leiderstam, “Once Seen (The Moving Panorama),” 2013

One more reason for a road trip courtesy of Kelly Shindler who published a great list of things to look out for art-wise in STLA:

“It’s the first of May, which means that it’s May Day, International Worker’s Day, and you may as well watch the Bee Gees perform this. It also means that lots of art spaces and museums are getting ready to open their first round of summer shows. In solidarity, I present to you my (rather long) shortlist of what’s on in St. Louis in the coming weeks…”

Work by Jenny Kendler at The Sub-Mission, 1431 W. Chicago Ave

Stephanie Burke posts the TOP 10 shows-to-see (obviously everyone has been hard at work all winter, and the fruits of labor are now, this very moment, EXPLODING). Which is to say, all good things are upon us. HERE

Mierle Laderman Ukeles, MAINTAIN YOUR DESTINY (1974)

Another new columnist arrives at the scene, adding one more reason to open that bottle of champagne. Yes, that’s right, Mairead Case published the first post in an on-going series, MAINTENANCE. In her words:

I want this column to be about maintenance, because endings get so much press right now—education is increasingly privatized and teachers are undervalued, slow media is undervalued, pedagogy and art practice and criticism are going weirdo Cerebrus on us—and instead of getting ever-crabbier or just throwing in the towel, I want to talk about how we’re living. How we’re taking care, how we’re keeping the wheels turning. How we’re supporting ourselves long-haul. (Why books? I spend most of my time in libraries and classrooms, and reading, so books seem like a good place to start.)

MAINTENANCE will focus on reviewing new publications, but there’ll always be older ones in the mix. Again, if there’s something you’d like me to cover, please be in touch: mairead dot case at gmail.com. Hi!

So — with that, hope you had a good weekend, and let’s plan a day of hooky. Meet me at the beach, noon on Wednesday. Call it a National Day of Wellness and Leisure. Wear your best suits. I’ll bring the cold cuts if you bring the beach ball. Maybe we can look as dapper as the old timers downstairs. See you soon.

“One of the things I wanted to prove is that you don’t have to be a Larry Gogosian or a Jeff Koons and plunk down 10 or 15 grand to make something happen. I think if you’re creative and energetic you can do whatever you want for a penny ninety-eight.” Wise words from painter/guerilla documentarian Loren Munk who’s interview was published this week on Bad at Sports.

Let’s see — otherwise Tilda Swinton has been sleeping Snow-White-Style in a glass box at the MOMA (which Jerry Salz wrote about here) and I saw an amazing B-Movie about a gang of Tai Kwan Do orphans who go tête-à-tête with Bike Ninja’s in Miami.

Still from Angela Washko’s Vine entitled Tits on Tits on Ikea

But more to the point, Nicholas O’Brien Unpacked The Shortest Video Ever Sold :

“In the past couple weeks a myriad of media outlets have been chomping at the bit to comment on the first sale of a piece of art made on the rapidly rising social media platform Vine.  The work in question was made by Angela Washko and presented at the Moving Image Fair by Kyle Chayka and Marina Galperina in their Shortest Video Art Ever Sold (SVAES for short) booth produced in collaboration with Postmasters Gallery. The sale of the work has been quickly marked as an easy target for many critical articles for a variety of reasons, however I feel that most takes have missed some of the more salient issues that surround this sale. I sought out Chayka, Galperina, and Washko to discuss not only their intentions with the project but also to examine what exactly this sale might signal in terms of a potential future for new media art production and saleability.”

Shane MacAdams posted another episode from his on-going series, Thoughts from Across the Cultural Divide, “From television to cuisine to high-art, culture seems bent on sanding us down even as we strut about thinking of ourselves as unique splinters in the side of society.” It sounds like the series is wrapping up, so we’ll have to keep our eyes peeled to see what’s next on the McAdams’ Bad at Sports posting roster….(this is where you’re all supposed to grow excited, curious and sleepless with anticipation.)

Two posts from London this week — João Florêncio published a second installment in his on-going Performing Ecology: Narcissist Modernity

“The problem is that whereas the critical enterprise had, following the dawn of Modernity, been rightly concerned with calling into question beliefs such as those advanced by various religious doctrines and replacing them with scientifically validated facts, at the start of the 21st century and there being no beliefs left to disprove, criticality has now started targeting objective facts themselves, often by negating their existence or by turning them into a mere product of their dialectical counterpart, the observing human subject and its usage of language. Today, after the so-called ‘objective reality’ was found to always be the result of power-knowledge formations, human discourse has become the true cause of the world itself.”

& later that same day from Victor Delvecchio, a ruminating post about a renegade performance, Black Metal Chicken, an event organised by an apocalyptic noise band funded by Henrik Heinonen with Oscar Gaynor and Matthew Peers. Via Delvecchio I learned that Islam Green is a color and got a vibey-feel for foggy East London (where the Olympic stadium remains). This comes from his post about a performance artist being strangled, Where there’s voilence, there’s love:

Sophie appears on my back: “I thought the timing was good,” she says. “Just as the audience were eating, helping themselves to food. If I didn’t know it was a performance, I would have been concerned, it relied heavily on our knowledge and trust that this was a performance. I think, they were trying to communicate the uncanny, notions of sadism, the erotic.  Perhaps, too, how vulnerable we are to another person’s decision to harm us?”

Juliana Driever builds a bridge between New York and Chicago with post about socially engaged practices “In Conversation: Community Glue Workshop and Fixers Collective.” From her intro:

“With certain currents in the contemporary art world pulling out of the gallery and museum box and into the spaces of everyday life, social relationships have come into focus as the site of many artistic projects. Increasingly, self-organized creative types pick up with simple materials, a group of friends, and an idea to enact change in their various communities by participating in and with them. Between Chicago (Bad at Sports’ hometown) and New York City (my hometown) there are two similar projects – with varying regard to an art world dialog – that center on a waste-not-want-not brand of idealism. Encouraging inventive approaches to everyday repair problems, Community Glue Workshop (Chicago, IL) and Fixers Collective (Brooklyn, NY) have each been building community by tinkering with and fixing things. All kinds of things. I recently had the good fortune of sitting down with Ally Brisbin and Carla Bruni of Community Glue Workshop, and Vincent Lai of Fixers Collective to discuss their respective work.”

And then on Thursday, Atlanta-based Chicago friend Meredith Kooi reported on TRITRANGLE’s “No Media” project:

“NO MEDIA happened March 16, 2013 at TRITRIANGLE, the art space that formerly held Enemy Sound, in Chicago, IL. Developed out of a GLI.TC/H Working Group, the first NO MEDIA happened at GLI.TC/H 2112 on Friday, December 7, 2012 at TRITRIANGLE. Described in the schedule as “Proposed by Jason Soliday on the Working Groups: NO_MEDIA is a performance framework that goes from zero to zero! Participating performers will start with blank slates, build sets from scratch. No preparation allowed. Zeroed out knobs. No strings on your guitar. No presets. Everything done in realtime from beginning to end. Everything that happens exists only in and during the performance :: “Raw Real Time.” After ~ 10 minutes you will delete all assets. It happens … and … then it’s gone …”

“On March 16, 2013, I participated in it, but that’s the only detail of the night I’ll give. For, there is no documentation allowed. After the event, I sat down with [dis]organizers Jason Soliday, Nick Briz, and Jeff Kolar via electronic-mail. I wanted to ask them: Why a NO MEDIA new media performance event? What is considered documentation? What does it all mean??

And then, here I am, writing for the “media” about NO MEDIA.” (more)

TOP 5 WEEKEND PICKS !! (whoop-whoop) posted by the ever magnanimous vet of culture and distinction, Stephanie Burke.

& last but not least, a little something by yours truly about Harmony Korine’s SPRING BREAKERS.

As we close on spring break in earnest, I’m going to leave you with a little something from Miami Connection, that B movie I told you about — I failed to mention that the band of Tai Kwan Do Orphans also  moonlights in a super-posi(tive) band called DRAGON SOUND. While playing music for a crowd, they also practice their martial arts. This one goes out to you, dear readers, from the bottom of my heart.

Rachel Whiteread, “Untitled (Library)” (1999) installed at Hirshhorn. Dental plaster from polystyrene mold and steel mounting.

So you may have noticed that I’ve started posting a “week in review” column — as a way to tie different posts together and map what has taken place on Bad at Sports. Usually I post this column over the weekend — on Saturday or Sunday. However, this week/end I was out of town, so even though Mondays are about moving on and looking forward, I thought I’d pause to look back a moment. And, unlike my usual style, this week I’m going to go BACKWARDSzzzz.

The theme I found had to with books and book love and catalogues and the material of records.

Caitlin Warner, “The Commodity, (image courtesy of SPARE)

Bailey Romaine (Happy Birthday, Bailey!) posted a really lovely interview between herself and SPARE, an artist residency and bookmaking project in Chicago’s SouthSide. It is run out of Kyle and Shannon Schlie’s apartment, where the two have reserved one room for artists to live and another for their Risograph printer — which, btw, I deeply deeply covet. As a lover of artist-run-project spaces, a bibliofile and a bookmaker, you can imagine why I would get so excited about this conversation. At one point Kyel Schlie says:

I came to books through art, so I often think of them in that context. Because I’m interested in how objects, and the ideas they carry, move and live in the world, books open up a lot of options that aren’t as likely for other art-type things. I feel like books have a potentially wider, or at least different, reach that interests me. Books circulate, books are distributed, and so on, which to me, feels like an exciting active process; one which I would like to take beyond just books.

Liz Sales, “Steam,” 2010

Carrying on with the theme of books, Monica Westin interviewed Jessica Cochran, Columbia’s Curator of Exhibitions and Programs at the Center for Book and Paper Arts Gallery, about their current show  “Structures for Reading: Text, (Infra)Structure, and the Reading Body in Contemporary Art,” — which opens up the conversation about artist books per se, connecting them to the body and the process of reading:

 Now that the physical book’s very existence is in flux once again, the discourse around their fate and role in our lives is, one might suggest, incongruent to their reality as inanimate objects. If you read or listen to discourse around disappearing bookshops, or talk to a reader who is defiantly holding out against that “inevitable” Kindle purchase, you’ll find that these conversations are incredibly passionate—it’s like we think of these books as living things! This helps explain the currency of the book itself as a visual signifier of our contemporaneity, or what Terry Smith calls, “our passing present” particularly when it is sited within contemporary art projects.

Stephanie Burke did it again with everybody’s favorite Top 5 Weekend Picks.

Thea Liberty Nichols posted about The Stockyard Institute, using a text that will be published in  an upcoming catalogue about their work, translating their very material, installation and situational interests into a book. In her closing paragraph, Nichols writes:

From the beginning, SI’s students have also been their teachers. Through a marriage of art and politics, they have acted transparently, embraced inclusivity, and stayed true to their belief that there’s plenty to go around. Above all, they appreciate a good spectacle, and this has been their trademark maneuver for reeling us in. The deal is sealed however, as soon as we realize that, through sheer force of will, they have the power to transform the ideal into the real.

California 17 January 2006: Had a last meal of buffalo steak, a bucket of KFC white-meat-only chicken, sugar-free pecan pie, sugar-free black walnut ice cream, Indian pan-fried bread and whole milk (ice cream was left out one hour to thaw, and turned into a milkshake by hand).

I felt like there was a interesting, ambient connection between SI’s interest in material, and the presence of books this week (which I’ve started to think more generally as records, or placeholders of memory) in Julie Green’s work — a Northwest artist that Sarah Margolis-Pineo interviewed. Green has been working on an on-going series of blue and white paintings on porcelain dishes, painting the last meals inmates:

Corvallis-based painter Julie Green has opted to address the deeply flawed system of capital punishment head on. Her ongoing series, The Last Supper, has been a twelve-year pursuit to reveal the humanity on death row through intimate portraits of last meal requests painted on ceramic plates.

The plates, currently numbering 500, are a dissonant accumulation of lives lived and lost. Displayed in clusters along the perimeter of The Arts Center, (Corvallis, OR), each constellation speaks to an ad hoc arrangement of family portraits, a domestic sensibility that is amplified ten-fold by the use of readymade tableware as canvas. Despite the gravity of the subject matter, there is a touch of whimsy to Green’s project. Her meticulously rendered pizza slices, honeybuns, and hamburgers are most often completed without any visual referent. Filtered through the artist’s memory, the foods are imbued with an illustrative quality that borders on cartoony, speaking to the endearing texture of Maira Kalman rather than the inherent gloom of the memento mori. Further, each object in The Last Supper is painted in the tradition of blue-and-white china, a hue that is simultaneously absurd and significant, drawing from one of the most recognized traditions in ceramic worldwide, from Jingdezhen ware to Willowware.

The Last Supper, an exhibit with 500 of these aforementioned plates will be exhibited at The Jordan Schnitzer Museum of Art, (Eugene, OR), in March, and travel to The Art Gym, (Portland, OR), in April, 2013.

California 17 January 2006: Had a last meal of buffalo steak, a bucket of KFC white-meat-only chicken, sugar-free pecan pie, sugar-free black walnut ice cream, Indian pan-fried bread and whole milk (ice cream was left out one hour to thaw, and turned into a milkshake by hand).

I reposted an essay about performance by Amy Sherlock, and strangely feel like it also ties in to this overview, or memorialization or events particularly as it pertains to performance. She writes: “The Abramovic phenomenon in particular has come to exemplify the complicated alliance between performance, the museum, and institutional and commercial gallery spaces. For all its professed immediacy and the emphasis on the ephemeral ‘present,’ MoMA did a good job of packaging up  ’the moment’ and circulating it. There are photographs, official catalogue and the feature-length film.” Which is exactly what books do, or (it would seem) plates.

Last, but certainly not least — there was a great hub-bub on Monday between the lush and vibrant images of Paul Germanos and Dana Bassett’s Edition #3 of T (Guess what’s Trending: COUPLES), with a new and fancy pants layout that makes it feel almost like a print publication.

As always — thanks for reading, Chicago et al. We Love You.

Stay Tuned for some writing on performance, Object Oriented Ontology, New York, London, and more coming up this week.

It’s been a busy week both on and off Bad at Sports. A number of our contributors were at CAA and I, for my part, took my hat (and new best friend) on the Carl Sandburg train to Macomb, Illinois for an overnight trip to Western Illinois University. I happened to give a talk there about (among other things) transcription and translation which no doubt has colored the way I’m thinking about the last week on Bad at Sports. In looking back and taking stock on what was posted, so we ready ourselves for the new week ahead with its ever lengthening days. My sense of this week is that it was about windows and frames and the transmission of ideas. It’s about education and the power that stories have over us, to affect change and muddy whatever assumptions might be otherwise taken for granted.

 

 
Tonight, I am excitedly headed to Every house has a door’s performance at Links Hall, They’re Mending the Great Forest Highway. I’ve seen an iteration of the piece once already, and am looking forward to seeing it again. Goulish posted an essay about it here last Sunday, including a couple of amazing youtube videos with some excellent dance moves.

In the Absence of Light, Darkness Prevails from Double Trouble on Vimeo.

The week began with Jesse Malmed’s interview with contemporary filmmaker Fern Silva. Among other highlights, Silva talks about teaching film. “Experimental films that were made 50 years ago can be as fresh as films being made now in a classroom setting. I like to show films that I found inspiring and share stories about the filmmakers who we’re watching. For example, when I show Meshes of the Afternoon, I’ll tell the story of when Maya Deren threw a fridge across the kitchen while she was possessed in her West Village apartment that Brakhage writes about in Film at Wit’s End.” (Reconfirming my perhaps over zealous love for Deren). There is also a lovely moment, so brief as to almost be missed where Fern states that structure, (non-)narrativity and collage are all the same to him. Monday went on with another description of class dynamics from Shane McAdams.  There was a subsequent dispatch from Gene Tanta on Tuesday, where he described a performance workshop with Irina Botea and 13 other performers. He asked each of them (and got five responses) “What does your work protest?” I reposted one response

“Our work focused on the impact of this replacement (of old windows with multiple-layer double-glazed windows) on the people who purchase them. In Romania, this transition is advertised and widely acclaimed as being more than just necessary – but the defaultupgrade, perfect for every house. While questioning this widespread idealistic belief that Termopane are the right (almost the only valid) choice, we pursued in deconstructing its “promises”. And since you referenced Adorno’s claim that art documents history, one of the key aspects this work documented is how the perfect isolation, the safety promised by the Termopane comes with an unexpected turn: isolation means protection, security, intimacy but it also raises questions regarding responsibility and anxiety. These new guidelines of the private space influence people’s social and psychological behaviors, by means of a rather unnoticeable slow process of adaptation.” Ioana Gheorghiu

The way that windows and cameras and frames tie in together always makes me happy.

Laurie Jo Reynolds, “Tamms Year Ten Campaign Office,” SAIC Sullivan Galleries

Mary Jane Jacobs covered a lot of ground, as she reflected on an a Grant Kester essay in Engagement Party: Social Practice at MOCA, 2008-2012, and interviewed Kyungwon Moon and Joonho Jeon. The biggest moment for me comes at the beginning of Jacobs’ post, when she announced that TAMMS Super Max Prison was officially closed on January 4th of this year, in no small part due to the hard work of artist Laurie Jo Reynolds who took up residence at the Sullivan Galleries this past fall. Abby Satinsky goes on to provide a bibliography for “Creative Placemaking,” while musing on the complicated scenario artists are faced with as they move into and revitalize depressed neighborhoods, a subject discussed at length in a recent conference,  The Art of Place-making.

Jeffrey Songco interviewed performance artist Renne Rhodesabout her background in dance (among other things) during which they discuss Rudolph Laban’s “Labnotation” — as a means to score dance moves — an image of which you’ll see above. As I have been thinking a lot about transcription lately, and since so many of this week posts focused on the transmission of knowledge or experience, this seemed like a particularly lovely moment. The image of those static, abstract footprints(?) have been in my head every since. That they would somehow convey movement in time and space is beyond me. Sam Davis follows suit with a suite of videos that try to articulate what FUNK really is — namely “it’s about juicing a feeling.”

I rounded out the week with a post about Sofie Calle’s Address Book (which is now available in English). She seems always to be providing windows into private worlds, activating the aura of an individual, in this case Pierre D. who has recently passed away (thereby enabling her to release her findings about him). It seems like a macabre kind of dictionary in a way, and reminds me of Graham Greene’s biographer who was allegedly hired by the author to follow in his rather debauched footsteps, at the expense of the biographer’s family. I ended the week with a post about a sound performance at LAMPO by Hong Chulki and Choi Joonyong, — which like so many of LAMPO’s events effectively blew my mind. Maybe even more than this little red comb which I purchased for a mere 5cents at a Macomb antique mall.