February 2009 Archives

by Ed Talbot

Empty Space: Where do ideas come from?

The concept of AS220 was the result of a core group of artists' dissatisfaction with the status quo. The providence art scene, as virtually everywhere, had been held hostage by the whims of a small group of gallery owners and "scholarly" art associations who felt empowered to define art in accordance with their own personal tastes and preferences thereby creating an atmosphere where the mundane and familiar were rewarded and originality was treated as a threat to the establishment. [The problem was] if they didn't like or understand an artist, then he had little chance of reaching the public. The need was clear; there should be a public venue consisting of a gallery, and a performance space that would be free and unjuried, available to any artist or performer regardless of background, education or political affiliation. In the spring of 1982 a Manifesto Known as "The New Challenge" was published in the now defunct Providence Eagle [April 14, 1982]. It was signed by Steven Emma, Martha Dempster and Umberto Crenca. This document articulated the founding principle upon which AS220 was modeled, "Art must be allowed to flourish unhampered because Art is one of the last areas of culture where Man defines his Spirit".

Art Space

The embryonic stages of AS220's development occurred in a group of rooms and corridor; a long way from the elevator, on the largely abandoned third floor of the Providence Performing Arts Center on Weybossett St.

On the street above the door was the number 220. Someone had found the old A frame chalkboard that a forgotten restaurant once used to advertise the daily special. On it was written some reference to "Beatniks", an invitation to "Discover AS220" and the directions"Up to the third floor, left off the elevator, second right, right, left, right, down hall."

AS220 was a large room, overlooking Weybossett from the third floor. There were a few overstuffed chairs and a couch or two and an unwanted piano that someone had donated. Off the main room were the coffee bar and maybe one or two studios. The only heat provided in the building was to keep the water pipes from freezing.

The coffee brewers and light bulbs didn't help much. Everyone ignored the cold.

Already AS220 had become a successful rendezvous for the "Tragically Hip". Artist and performers gravitated serendipitously to the space. People gathered and shared coffee, ideas, stories and craft. Bands were created; theater groups were born.

At that time the only revenue to AS220 was the "a pass of the hat" and the "donations" collected for the coffee that was free and the only beverage available.

Alternate Space

Sometime in the spring, there was a great buzz about the new space on Richmond St. One evening, just after dark, a group of us walked over to view the second floor of 72 Richmond St.; it was a total wreck! In the darkness, aided by one or two flashlights, we could see the debris and dust of long forgotten jewelry shops and storage areas, hobo abodes and pigeon droppings; no running water, no lights.

I found a fuse box in one of the rooms and went back to my van to get some fuses. When I screwed them into the fuse box the lights came on or at least enough of them to be the cause of great celebration. It seemed the gods were smiling on AS220! Now we could really see the mess we had gotten into.

Over the next several weeks, the rubble was cleared. The electrical system evolved, a plug here a light there, as needed. A new water line was brought up from the basement, which was flooded with two or tree feet of brackish water. A few of us staked out "Studio" spaces on the fringe of AS220 proper. We developed a formula based on the total square footage of space occupied by AS220 and its satellite studios. We all paid the same rate per square foot, including AS220. If AS220 finished the month in deficit, [and it always did] the residents would equally divide that deficit and pay it. It was not a loan or an investment. It was a love offering to a cause in which we all fervently believed.

To actually live in the studios would have been a violation of the numerous Zoning and Fire Codes that regulate the Downtown Area; let's just say that 72 Richmond St. was awake and a hotbed of activity twenty-four hours a day.

One of the main advantages of the Richmond site was its accessibility to the sidewalk; just straight up two flights of graffiti walled stairs and you were there.

Back on the sidewalk, the trusty A-Frame Chalkboard pointed out the now flat black entrance, both the former and the latter adorned with the chalked ornamentations of a well-known local artist and news of what might be "happening at AS220".

Over time the chalkboard art of Peter Boyle covered any unoccupied storefront on the block. A vintage clothing shop opened across the street adding to the attraction of the block. Pied Piper Productions, who brought several hardcore shows to AS220 was adjacent to the vintage clothing shop.

During that same summer, the club tentatively named The Garage opened as Club Rocket, later to be known as Club Baby Head, beneath AS220, on the ground floor.

One evening the host of a local college radio show, whose program had been banned as a result of some sophomoric power struggle at the radio station, wandered into AS220. As with any visitor we explained the intent and philosophy of the fledgling group. I played some recordings of my own musical invention during the conversation. He seemed genuinely enthusiastic about the space and its goals.

A few days later I got a call from Neville of "The Noise from Neville Show"

"I'm back on the air" he said to me, "I want to have your band on this Saturday."

I pointed out that I didn't really have a band and that most of my work was on muli-track or completely improvisational.

"Today's Wednesday, that gives you two whole days to get a band together."

I accepted.

Umberto and I had been well received as an improvisational electro/acoustic duo playing at a couple of art openings at the now defunct Bristol Art Museum. I offered to Umberto that we could play this radio station thing. He suggested that we include the other core members of AS220, and so that Saturday we appeared on the radio as

"The artist troupe from AS220, Astrolabe" This was the first of many improvisational groups to spring from AS220, "Meat Ball Fluxus" being just one more.

The group consisted of Susan Claussen; Gina Risica, Manny Pombo, Umberto Crenca and myself. We played four or five musical pieces that we had discussed but never really

Rehearsed. There were a few segments of live interview as Umberto detailed the philosophy on which AS220 was founded.

The radio show was instrumental, informing the public of our existence and intentions, not only because of that first appearance but also because of what happen later.

After the exhilaration of a live broadcast there is, for some of us, a let down, a sudden drop in endorphins as if crashing from some meth-like substance. I knew I was hooked on live radio. I volunteered that I would help with the engineering/production of the show if need be. Before very long I was doing just that, solo. Every Saturday, three to six P.M.,

Neville played his "Thousands of tapes from all over the world." While I learned about broadcast engineering as fast as I could. [Sorry to anybody who didn't like a particular broadcast.]

AS220, The Noise from Neville Show and Club Rocket attracted bands both locally and far a field. Whenever we booked a band for the radio show we would try to coordinate an appearance at AS220 or Club Rocket that same weekend. This co-operation benefited all parties concerned.

Artists and performers from as far away as Italy, Germany, the U.K. and Japan performed or exhibited at AS220 that first year. The Rhode Island State Council of the Arts began to see AS220 as a serious entity. Artist and bands waited weeks for a show at The Space. We had a real snack bar and a telephone.

Whenever AS220, the organization needed something, there invariably stepped forward someone who would fulfill that need. One night as we watched a performance from the snack bar Bert mentioned that a stage would be great for performance but it would interfere with exhibitions. Portable, folding stages were so expensive and seemed out of our reach. Half joking, I said "Don't worry, I think its on its way". Within three days a group of musicians dropped in. They were moving out of town and wondered if we could use a portable, folding stage.

Spaced Out

All this happened over twenty years ago. No doubt, there are many interesting details and sub plots that are not covered in this article. During my year, more or less, of being at AS220, I served as Audio Arts Director, Liaison to WRIU Radio, handy man, procurer of that which was needed and Treasurer. We were all willing to do whatever was needed because we believed that AS220 was a concept that should endure. There were others who gave as much and more. I consider it my great privilege to have been present in those early days.

Ed Talbot, December,2006

This Saturday from noon to 4pm in BSS's Delgado recording studio, come talk about the best stories you have in losing a job. From the team behind "the Providence Break-up Project" comes another audio adventure. This time, it's about corporate/non profit heart break! The project is being recorded by the young people of Broad Street Studio.

Join us this Thursday, Feb 26 at 4:30 at Broad Street Studio to meet designer and screen printer, Peter Cardoso. If design and screen printing is your bag, this will be an amazing community meeting. Working out of a basement in Pawtucket, RI, Peter Cardoso made breath-taking record album covers for bands like Street Dog, Lost Angels, and Mighty Mighty Bosstones just to name a few. Clear your agendas and come to our community meeting because this is going to be slamming! Visit Peter's website at http://www.ghost-town.net/index.html

I looked up March Madness on Wikipedia to research the roots of the saying "March Madness". I was expecting to find anecdotes on Julius Caesar & the "Ides of March" or that the name March is derived from Mars, the Roman God of War & was the traditional start of military campaigns, or even references to the coming of Spring & folks getting all crazy, you know LOVE crazy, after long cold lonely winter. But, no. It's all about Basketball. College Basketball. Lots of College Basketball. So in the spirit of full disclosure there is nothing in the AS220 galleries this March that directly refers to any college basketball team or tournament. What I can promise is signs of Spring in Amy Ryan's lush landscapes, and the growing hope in Jenine Bressner's glass plant chandeliers. Just enough madness licks the fringes of Christopher Thomas's mixed media sculptures that compel delicate navigation round them. Deb Hickey's mixed media work tours the gritty side of the West End exposing traces of psychogeographical madness round those parts. S.W. Dinge presents "...a moon lit graveyard, a balloon, some crayons, a pile of matches, an atomic bomb and a box of feathers. that's the sunday bullet." A March Madness of a different order all together....

Our new exhibitions open Sunday March 1 from 4-7pm and runs through March 28, featuring: in the AS220 Main Gallery: "Ready or Not Here I Come" New Collage Paintings by Deb Hickey and New Paintings by Amy Ryan.

The Open Window features New Glass Chandeliers by Jenine Bressner.

The AS220 Project Space presents New Sculpture work by Christopher Thomas & "The Sunday Bullet" an installation by S.W. Dinge.

The Youth Gallery presents work from the Beacon Charter High School for the Art, where the school motto "To be an artist is to believe in life", is their guiding spirit.

If you find yourself over by the RISD store stop in and take a peek at the work produced in the Graphic Design Letterpress shop over the past six weeks by students in the Wintersession course taught by Elana Joy. A small town but two letterpress shops not more than five blocks from one another, we are so lucky!

hot printing show! feb 17 - april 11 risd design center, 1st floor 30 north main street providence, ri.

In these historic times we here at the AS220 Community Printshop would like to take a chance at making history too. With all the bail-outs, hand-outs and recovery acts we thought that you might be feeling a little left of out. This month we are having our first Polaroid Party Open House. If you have been in the shop recently you have seen the beginnings of documenting all of the printshop members though a quick Polaroid photo. This way we can all remember one another's names and faces along with all the fun that instant film brings with it.

Here is the handout part...To entice you to come downtown to the shop we will be giving anyone who comes to get a photo and eat some sweets a FREE gift certificate valued at $25. These gift certificates can be used towards the cost of printing in the shop, 4 hours, a week, or a month. They are no good for annual fees, workshops or polymer plates. Please come to the Open house Monday March 2nd at 6pm. Even if you are not currently a member, on the fence about joining or just want to learn more about the shop stop by and see us.

So, this is a first folks. Three months of workshops to choose from at one time! Sign up now, our next session will be Summer- June, July and August. We have some new and super exciting offerings. I am signing up for silverpoint! Here are the highlights...

Drypoint $35.00 Saturday March 21st 1-5pm or Sunday May 3rd 1-5pm

In the Drypoint class basic mark making skills as well as the techniques and processes of an etching press will be taught. Participants will make direct marks into a copper plate using sharp tools to leaving lines for inks to sit in and then be transfered to paper by running it though the press at high pressure. We will also cover ink mixing and application, plate preparation and wiping, as well as paper tearing and registration. During this is a short introduction to using the etching press participants will be signed off to print in the shop only for drypoint .

Relief Printing $85.00 Wednesdays March 11th, 18th, 25th, 5-9pm

This class will be dedicated to observing and practicing the graphic quality of relief printing, the oldest method in printing to date. Printing demos will include how to properly ink, proof, print, and label images. In class time will be devoted to developing imagery, carving, viewing other relief prints, and production of a small edition of relief prints using either Linoleum or wood blocks and oil based inks.

Silverpoint $85.00 Monday April 13th, 20th and 27th 5-9pm

In this workshop participants will be introduced to the historical drawing technique know as Silverpoint. We will begin with demonstrations of the labor intensive process of preparing the surface and each prepare our own. We will then move through the process of sharpening and creating a drawing tool using silver rod. There will time within the workshop to draw as well as experiment with this process.

To see all the classes visit the AS220 Shop and sign up!

Ever think of creating new items out of discarded things? Ximedica an Item group company that specializes in the design, development, engineering manufacturing and supply of innovative capital and disposal medical devises and instruments. Item is a full-service, product development enterprise offering expertise in research and strategic planning, industrial design, mechanical, electrical and manufacturing engineering and Ximedica grew out of their expanding work with medical devices. On February 21st, Ximedica is teaming up with AS220 to bring you a day of exciting and fun new opportunities! The class will be run by Kat and Adrien, who will show you ways to work with eco-friendly materials, and think about designing for industry. Its going to be held at Broad Street Studio, 115 Empire St, 2nd floor. Hope to see you there!

For People Not On Phones: an art installation by Purest Spiritual Pigs Wednesday, February 18, 2009 - February 25, 2009 At six undisclosed public locations

This project was fabricated as part of an artist residency at: AS220 115 Empire Street Providence, 02903

For People Not On Phones is the newest conceptual creation by Purest Spiritual Pigs, a solo and collaborative project lead by Helena Thompson. For this project the artists have created sound installations and placed them discreetly in public spaces, both inside and outdoors. The volume of these auditory compositions is extremely low, discernable only to passers-by who are fully present in their environment. Sounds created in and from the future locations of the six installations were used in creating the finished works that are heard in those very same places.

Thompson was a resident artist at AS220 from a few months after its inception in 1985, until 1990, when she relocated to San Francisco. For the month of February, Thompson returns again as an Artist in Residence by way of AS220's collective invitation. This Purest Spiritual Pigs project brings AS220 Labs in as one of Thompson's collaborator. AS220 Labs contributed the planning and fabrication of the sound devices used in the install, utilizing open-source Arduino chips and small laser cut handcrafted Plexi boxes. Susan Clausen, Bert Crenca, and Blue Wade also joined Purest Spiritual Pigs for this exciting collaboration, helping create the final recordings.

The artists hope that a number of people will happen upon the installations in the normal course of their week and have the opportunity to interact with the pieces, but is not formally releasing the whereabouts of the six soundscapes.

This is the first of a series Thompson plans to bring to public locations in multiple cities. AS220 is pleased to have been the springboard for this ambitious series.

For more information about the exhibit or AS220 please contact:

AS220 Communications Director 401.831.9327 x116 Cheryl Kaminsky cheryl@as220.org

or

Helena Thompson purestspiritualpigs@gmail.com www.purestspiritualpigs.com

Jay Zehngebot, Agata Michalowska, Meg Turner (keymembers at the AS220 Community Printshop), Will Reeves (RISD Sculpture '07) and Asher Israelow (RISD architecture '08). We are creating separate pieces that will come together in the "Book by Book" bookstore at Hope Artiste Village. The installation is based on conceptual and physical juxtapositions. Each piece is executed in a different technique but all are revolving around the ideas of architecture, structures, weight and lightness. Come by and see for yourself what all of this means!

The reception will be held on Saturday, February 21st at Hope Artiste Village, 1005 Main Street, Suite 2233, from 3:30-8 PM. It is about a 10 minute ride from downtown. Bus number 99 (going down Main Street) will take you right to the entrance of the building! Stop by and enjoy the art, the people, the food, the drinks and the music.