Broadcast (Gulf to Salt Lake).
Ry McCullough + Nick Satinover as small_bars
McCullough and Satinover are interdisciplinary artists whose works utilize printmaking processes and formalist strategies. The common components found in their individual practices are the development of contrasting abstract languages, structure versus improvisation, usage of limitations and iteration and the attempt to translate notions of being and ambivalence through visual work. Both McCullough and Satinover also share the particular scars of having grown up in Southwest Ohio and graduating from its local DIY punk and hardcore scene.
Within their collaborative practice they explore the structural authority of their band name moniker, small_bars. This ambiguous name serves as an all-encompassing banner which simultaneously referencing pixels on a screen, lines of type of a letter press, halftone processes, and the physical clubs and venues their former bands played. As small_bars, McCullough and Satinover are able to generate a collection of collateral materials such as audio recordings, videos, printed ephemera, performative events, and structural arrangements, all of which support and expand the notion of what the moniker suggests. This collaborative effort seeks to use the form of a band-like entity to create a space where the acts of publishing, printing and performance co-exist.
For RMPA 2019 in Salt Lake City, we would like to execute a collaborative in-person + remote streaming audio and visual performance. Considering the theme of Transposing Attitudes, we believe this an appropriate and novel idea as we will collaborate across physical boundaries in real time, connecting ideas, visuals and audio in simultaneity before the in-person audience.
In order to accomplish this performance, NS will travel to RMPA and attend the conference in person and RM will work his studio in Tampa, Florida. RM will enact a live performance which will be streamed via video conferencing software (skype) and projected at RMPA. NS will create a live soundtrack in response to the visual material generated by RM within the space at RMPA. The result will be a partially structured, partially improvised performance which uses the rule-based systems of printmaking within different media.
We have created several audio/video performances such as this which can be viewed on our website: http://smallbars.art. We also have several videos which feature video collages and audio composed in collaboration.
Chapel of the Rivers. Stair Installation.
My large scale, graphic prints each depict one of the major rivers that comprises the Bristol Bay Watershed. Each print is created using a variety of print media for a specific site and is hand cut to craft temporary site specific staircase installations. Each install uses print to present a unique piece that must be walked through to fully see.
The rivers are graphic and large scale, evoking icons: saints, martyrs, warriors and other venerated figures. I am borrowing visual tools used in religious work that have been used as signifiers or educational tools. Tropes include Halo forms, Islamic tile patterns, Gold, Silk, Baroque sunbursts and Lace or tapestry patterns. I borrow these signifiers of importance from western cultures and combine them with depictions of a watershed that is held sacred by people of indigenous, northern cultures. My hope is that the prints shown in this specific way will build a space where we can consider the cultural & ecological importance of safeguarding our precious freshwater rivers.
The optical effect of my stair installations is reminiscent of a giant, opened accordion fold book. It relies on this specific infrastructure to exist. The rivers form graphic, winding channels through the staircases for visitors to climb and descend. Depending on how visitors enter the site, they may be surprised to find themselves in the midst of an art installation without warning.
Pairing discordant elements is meant to be unsettling and provocative. Cutting and pasting an ephemeral print onto concrete where visitors are confronted and forced to engage physically is dualistic: it is at once intimate, disgraceful and subversive. The experimental borrowing and mixing of spiritual symbols using various print media allows me to craft many diverse images that can vary dramatically in composition, color schemes and final form, all the while maintaining a strong continuity as the work develops. My rivers bring a dramatic topography into a man made structure in a central urban environment. I place ephemeral & fragile media on display in a site specifically engineered to survive high volumes of traffic and weather. The temporal nature of the print in this setting is a metaphor for the fragile nature of these river systems themselves. This work is a surprising experience that nearly always prompts a memorable experience.
Quick Bind RMPA Bingo .
The first 100 to stop by the bingo table will receive a RMPA themed bingo packet. Participants will cut and fold their bingo card into a small accordion style book that they can take with them through the conference. Bingo shout outs will be done through Instagram posts and/or well timed, witnessed and recorded outbursts.
More detailed description:
For this project I will print a 10”x10” bingo game board. I will hand out up to 100 bingo packets to participants. The packets will include:
a pre-printed 10”x10” bingo sheet
an instruction sheet for cutting and folding their accordion book and cover
cover materials including a preprinted front and back cover, binding boards, spine and
endsheets – participants will use a non-adhesive binding method to create a tuck and
instructions for a RMPA Bingo shout out on Instagram. When a participant finishes their
Bingo, they will be asked to photograph it and post it on Instagram under #RMPABINGO2019. This will time stamp their winning entry. The first 5 Bingos will be given a yet undetermined prize.
The content of the bingo board will be generated through conversations with RMPA’ns, printmakers and Utahns in order to create content that is location, media and content specific.