Media Art Lab

This workshop supports study and production in the media arts, including digital video, sound, installation/performance, and Internet and new media art, for students with a range of experience with media technologies. Conceptual development is stressed through regular readings and screenings, while technology skills are built in hands-on workshops using a range of media production equipment and platforms. In class and short-term projects lead to the development of a significant final piece of work that may relate to students’ ongoing creative interests.

Course Materials

Download as PDF: Fall 2014 Media Art Lab

Download as PDF: Fall 2013 Media Art Lab Syllabus

Download as PDF: Fall 2012 Media Art Lab Syllabus

Download as PDF: Spring 2012 Media Art Lab Syllabus

Download as PDF: Fall 2011 Media Art Lab Syllabus

Download as PDF: Spring 2011 Media Art Lab Syllabus

Download as PDF: Fall 2010 Media Art Lab Syllabus

Download as PDF: Spring 2010 Media Art Lab Syllabus

Level: Upper-Division Undergraduate/Graduate

Student Work: Video Exquisite Corpse

Among Surrealist techniques exploiting the mystique of accident was a kind of collective collage of words or images called the cadavre exquis (exquisite corpse). Based on an old parlor game, it was played by several people, each of whom would write a phrase on a sheet of paper, fold the paper to conceal part of it, and pass it on to the next player for his contribution.”

­­–William S. Rubin

Each pair will have a week to create a video exquisite corpse, using the camera to record images grounded in a specific point of view and individual, subjective position. Use the camera’s manual functions in an intentional and controlled way, developing fluency with exposure and focus controls such that technical “imperfections” are clearly intentional, expressive effects.

Download as PDF: Video Exquisite Corpse Assignment

Emily Dang (BFA, Drawing), Buffy Quintero (PhD, Interdisciplinary Studies), and Sarita Zaleha (MFA, Printmaking), Fall 2014.

Student Work: Video Trios

Over the next two weeks, each individual will shoot and edit three distinct but related videos of exactly twenty seconds each. The trio should have a unifying visual or conceptual theme (such as “time,” “pattern,” or even something silly like “fruit”) that is dealt with in three distinct ways. Each twenty second video should feel ‘complete,’ with a distinct beginning, middle, and end, and include a minimum of three shots. Create one video around each of the following:

  • Informal voiceover or conversational exchange
  • Reading of appropriated text
  • Images/sounds only, with no spoken text

Note: The precise length of each video in this assignment varied each semester, from 12-30 seconds

Download as PDF: Video Trios Assignment

Christopher Willauer (BFA, Intermedia), Fall 2013.

Student Work: Audio Postcard/Sound Story

This assignment asks students to tune into the aesthetic potential of sound composition while introducing fundamentals of field recording and audio composition. Variations have included audio ‘postcards’ – descriptive and evocative dispatches from a specific place, ‘sound stories’ – narratives in which the visual is subordinate to the sound, and thematic, collaborative sound investigations.

Download as PDF: Sounds Like War

Download as PDF: Sound Stories Assignment

Download as PDF: Audio Postcard Assignment

Emily Dang and V.K. Tian, “24 Hours,” Fall 2014

Naoki Izumo (MFA, Intermedia) and Jared Jewell (BFA, Intermedia), “Manufacturing War,” Fall 2014.

Erica Blair (BFA, Intermedia), “Abstract Audio Postcard,” Fall 2012.

Derek Blackman (BFA, Photography), “Anxiety,” Spring 2011.

Student Work: Installation

The class sometimes includes an installation component, especially when paired with Intermedia’s public Fall Showcase event. Due to space limitations, the students have only one week to develop the installation component.

Download as PDF: One Week Installations Assignment

Art installation with strings and shadow puppets
Emily Dang (BFA, Painting/Drawing) and V.K. Tian (BA, Art), “24 Hours,” installation of the audio work shown above, Fall 2014.
Installation with five vintage TVs live-monitoring their own image
Brendan Wells (BFA, Intermedia), “Daisy Chain,” Media Art Lab – Spring 2010
Dan Feinberg (MFA Sculpture) and Josh Hoeks (MFA, Sculpture), “Down He Goes,” site specific installation with mechanical arm “flushing” video image into a bucket of water, Media Art Lab Fall 2010.

Select Student Comments

“This class has been the most pertinent in developing my artistic awareness in the world around me and what I am doing as an artist. Thank you for helping me develop, Sarah.” (Fall 2014)

“I was encouraged to do something I always wanted to do. It is a good chance for me to know and show who I really am.” (Fall 2014)

“Sarah does an excellent job balancing learning of technical craft skills with conceptual, historical, and contemporary trends of video/sound art. I appreciate her knowledge of artists and art and weaves that info throughout the semester into both class group and individual work. I feel much more comfortable in media equipment and editing software now.” (Fall 2013)

“Your knowledge and passion for the craft is evident and inspired (inspiring) me to do my best!” (Fall 2013)

“This was a wonderful class. Not only did I learn the technical skills necessary for video/audio art, I also learned a lot about artists working in this way, and I was inspired by them. You did an excellent job of balancing course content/expectations for people with a lot of background in this and students with no background at all.” (Fall 2012)

“In comparison with some instructors, Sarah assumes a lot of work from the students; however, I’ve found that I try to be more creative because of it.” (Fall 2012)

“I really enjoyed the structure of the class. I was able to learn most of what I needed to begin quickly and really focus on what I wanted to do. I am planning on taking the course again next semester and hope to do a lot of independent research.” (Spring 2012)

“Professor Kanouse is incredibly smart and generous with her time. This class helped me a lot with my art work and both she and the rest of the class gave me great feedback. The class is challenging, much more so than other classes I have taken in the school of art. I would definitely take this class again. There was a good balance of theory and practical learning and service learning (with our class-curated exhibition). This is a great class.” (Spring 2012)

“The material in this course is super interesting but the class is really intense. Sarah is super smart and ambitious as an instructor.” (Fall 2011)

“This class was very challenging, technically and conceptually. The instructor has high expectations but it seems to make everyone work much harder. This was a great class.” (Fall 2011)

“Great class, well organized, very dedicated instructor.” (Fall 2010)

“I really enjoyed this course. It was often fast-paced, with introduction to several computer programs with projects/assignments due the following week. This made learning the programs a self-guided venture – I would have appreciated more time working on computers in class, though extremely detailed instructional handouts did help…Nevertheless, I learned and feel proficient with so much more than I previous was, and feel I can now work independently on similar audio and video projects, which is of great value to me.” (Fall 2010)

“Sarah is an extremely organized and well spoken teacher. She cares deeply about the course and her students at large. Sarah has been an exceptionally valuable part of my graduate studies and as a result I will be minoring in this area. I hope to continue working with her throughout my time here. Thank you Sarah for all of your help, support, and insight.” (Spring 2010)

“If I could give one piece of advice to entering graduate students, it would be to take a class with Sarah Kanouse. Her courses are engaging and she will inspire you to create your strongest work. Sarah clearly loves teaching and is committed to seeing students of all interests/ability levels succeed.” (Spring 2010)

Experiential Learning Projects

Because I believe my students learn best when something beyond their own coursework is at stake, I’ve undertaken a number of special projects in my classes. These have involved curating open-call exhibitions, showing work in exhibitions outside of the university, and producing work in the service of community organizations.

Guerilla Curating Film Program

Making the Invisible Visible – a screening curated by Guerilla Curating for Exuberant Politics, Spring 2014

Among these varied films are experiences, stories, and evidence of the realities of our history and our present that usually remain uncomfortably invisible and hidden. By forcing us to stare into the face of the realities of quiet prejudices (Why, MANUFACTURED BRITISHNESS), histories less known (778 Bullets, Reality 2.0) and the current sometimes hidden destruction of our living world (Living on the Edge), these films demand our at- tention as they powerfully direct our eyes and ears to their messages, making the invisible, visible.

Why, Borja Rodriguez (Spain, 5 min)
Reality 2.0, Victor Orozco (Germany/Mexico, 11 min)
778 Bullets, Angela Aguayo (US, 18 min)
Living on the Edge, Aaron Zeghers (Canada, 3.5 min)
MANUFACTURED BRITISHNESS, Kristina Cranfield (Great Britain, 12.5 min)

Work selected from an open call by Kelly Gallagher, Jared Jewell, and Jaime Knight.

Collaborative Performance Documentation – Media Art Lab, Fall 2013

In cooperation with visiting choreographer and performance artist Esther Baker-Tarpaga, Media Art Lab students documented the installation/performance event created in the interdisciplinary course “Collaborative Performance.” Student teams worked with performers in each vignette to determine the best location and type of performance, then filmed the on-proscenium event on three consecutive evenings using a three-camera set-up. They then synchronized the video and edited short documentary vignettes to convey the feeling, but not full duration, of each piece. In the course of preparation we discussed the role of documentation in performance art.

Screen Capture Exhibition Poster

Screen Capture – an exhibition curated by Media Art Lab, Spring 2012

From the first moment that fire projected shadows onto the cave wall, people have used various types of screens to exhibit images and information. Today, we live in a society dominated by “screen culture.” We spend our days with screens: working with computers, texting on cell phones, relaxing with television, navigating by GPS, being distracted by moving billboards, and going to the movies. The ubiquity of screens in our lives obscures how different types of screens actually operate, both technologically and culturally. This exhibition explores the evolution of this screen culture and its myriad possibilities in transmission.

With my guidance, students in Media Art Lab devised and distributed the thematic call, selected exhibiting artists from over 50 submissions, installed the work, and promoted the show. The exhibition ran May 2-8, 2012 in Art Building West.

ArtistsRaphael Arrar (Cambridge, MA)
Liat Berdugo (Providence, RI)
Faith Holland (New York, NY)
Gabrielle McNally (Iowa City, IA)
Josh Rios (Chicago, IL)
Crystal Roethlisberger (Tulare, CA)
Steven Silberg (Catonsville, MD)
Ricardo Miranda Zuniga (New York, NY)

Symbiotic exhibition postcard

Symbiotic – a exhibition of work by students in Intermedia Workshop, Spring 2012

Symbiotic is the product of a temporary collaboration between Grand Valley’s Curatorial Studio and artists from the University of Iowa. It is a student-curated group show with a thematic emphasis on human impact and environmental intervention. The featured artists find common interest in matters of mapping and landscape, particularly in the relationship between our collective conceptions and depictions of the American heartland in both data and image. The GVSU Curatorial Studio here plays an intermediary role by joining geographically distinct locales with a concern for the interstitial space therein, both physical and cultural. The exhibition ran April 13-14, 2012 at the Gallery @ 1Division in Grand Rapids, MI.

Winter with Art & Ecology infrastructure at Miller-Orchard Community Garden

Art & Ecology Projects at the Miller-Orchard Community Garden, Spring and Fall 2011

The Spring and Fall 2011 Art and Ecology classes undertook community-based projects at the Miller-Orchard Community Garden, located near the Studio Arts Building on Iowa City’s southwest side.  Following extensive readings on community-based art, meetings with gardeners, and research into the neighborhood, the students proposed, developed, and carried out projects in the garden. In both semesters, students opted to develop useful and beautiful infrastructure for the garden, building entranceway trellises from on-site materials; installing an underground vermiculture (worm composting) bin; and constructing message centers to facilitate communication between gardeners and with the general public.

Food Roots Cover

Food Roots – a local foods community cookbook, Spring 2010

Food Roots was a collaboration between Local Foods Connection (LFC) and the Art and Ecology class at the University of Iowa. Over the course of several months, 14 students and an LFC volunteer interviewed several of the organization’s client families and social service agencies, in addition to the Community Supported Agriculture (CSA) farmers from whom it purchases fresh food. Students also conducted background research and spearheaded the design and layout of the book using photographs supplied by LFC. The cookbook highlights Iowa City’s diverse food knowledge and educates the community about cooking and nutrition. Clients and farmers interviewed for this book come from Illinois, Iowa, California, Mexico, Guatemala, Republic of the Sudan, the Togolese Republic, El Salvador, and Thailand. The project assembles the knowledge and experiences of LFC’s clients and channels student skills and energies to become involved in the community and in local issues such as poverty, hunger, and food justice in Johnson County.

Local Foods Connection enrolls low-income families and the agencies that serve them in CSA programs. CSAs provide a season’s worth of fresh produce to consumers while paying local earth-friendly farmers fair prices for the food they grow, raise, and produce. Clients have the opportunity to visit a farm, as well as to learn healthy cooking methods. These opportunities are part of LFC’s larger educational program, which covers nutrition, cooking, and environmental issues.

Download as PDF: Food Roots Cookbook (26 MB, without cover)

Art & Ecology

A performer reading from a clipboard wearing a papier mache a zebra head
Mollie Goldstrom (MFA, Printmaking), “1883,” Art & Ecology – Spring 2011

Structured as a collaborative, creative research group, Art & Ecology explores artistic responses to environmental sustainability and related social issues. In the first half of the semester, the course examines select themes in environmental discourse, paying particular attention to how artists have engaged them. In the second half of the semester, students develop collaborative or individual projects that may take the form of social/relational art practice, video, installation, performance, writing, sound, 2- or 3D forms, and/or electronic media. In-class activities are supplemented with field trips, screenings, and guest presentations, and special effort is made to connect students to university and community resources. Emphasis is placed on critical approaches rooted in the humanities, but students are welcome from all disciplines. Students from disciplines outside the arts are encouraged to contact the instructor prior to the first day of class.

Course Materials

Download as PDF: Fall 2013 Art & Ecology Syllabus

Download as PDF: Fall 2011 Art & Ecology Syllabus

Download as PDF: Spring 2011 Art & Ecology Syllabus

Download as PDF: Spring 2010 Art & Ecology Syllabus

Download as PDF: Spring 2009 Intermedia Topics Syllabus

Level: Upper-division Undergraduate/Graduate

Note: This course first offered as Intermedia Topics before being overhauled to incorporate service-learning/community-based practice. It then became a regular course offering in Intermedia and part of the sustainability certificate program.

Student Work

Two people lash together saplings
Corinne Teed (MFA, Printmaking), Emma Steinkraus (MFA, Painting), and Angela Barr (BFA, Intermedia), “Beaver Memorial Lodge,” Fall 2013.

Organizing over a dozen people to participate in the (community) building process, Teed, Barr and Steinkraus built a memorial beaver lodge to commemorate the Studio Arts’ beaver family that disappeared in the Fall of 2012, when Hodge Commercial Management decided to drain the neighboring pond.

People lie on floor beneath brightly colored quilt while others touch cloth samples on the walls
Sarita Zaleha (MFA, Printmaking), “Mourning Warming,” interactive/participatory, Fall 2013.

Global Warming Blanket, a sensor-activated heated quilt, positions participants as agents of temperature change. The rising temperature of the blanket corresponds to the data on global temperature increases, with 10 minutes of increasing blanket heat correlating to 100 years of global warming. The quilt-top is a graph of these global temperature increases from 1910-2010, showing an increase of roughly 1.5˚F over this time span. Scientists link the rise in global temperatures with increased frequency and intensity of hurricanes and typhoons.

Wooden sump with mud stencil reading "Listen to Change"
Brendan Baylor (MFA, Printmaking), Sarita Zaleha (MFA, Printmaking), and Anne Covell (MFA, Book Arts), “Listen,” architectural intervention, Fall 2013

Our seating/listening project’s goals were to make Studio Arts more habitable as well as connect others to the environment through sound. We arranged stumps along the front of Studio Arts and used mud to stencil text on the ground in front of the stumps. The text directed viewers/participants to listen to/for specific things that could be broadly applied (silence, atmosphere, pace, change, etc.).

Wooden boxes protrude at an angle from the wall with vinyl letters reading "temporary"
Daniel Feinberg (MFA, Sculpture), “Commensurate with Experience,” wall sculpture, Fall 2011.

This wall installation questions to what extent ideas of being temporary or being permanent differ from one another, ecologically speaking. Temporary conditions have unforeseeable long-term effects; what we believe to be permanent in our human lifespan is but a blip on the scale of geological time.  From a certain vantage point the two concepts might prove indistinguishable from one another.

Jeffrey P. Palmer (Kiowa), “Effigy,” Spring 2011

This short documentary explores the spiritual energy and essence of Effigy Mounds National Park in Northeastern Iowa. The land is origin point for many tribal groups in the Midwest.

Three very large models of potatoes
Allison Kinney (BS, Environmental Studies), “A Lot of Tator Tots,” Spring 2011.

Scaled paper mache potatoes representing the number of steps in the supply chain of 4 different potato-based meals. Fast Food French Fries (61x34inches), Mircrowaveable Organic Meal (34x17inches), Industrially grown whole potato (42x26inches), and a locally grown organic whole potato (real potato used, approximately 4×2.5 inches). All materials were recycled and/or locally sourced.

Vintage suitcase containiing canning supplies
Caitlin Digman (BFA, Sculpture and BS, Environmental Science) and Ellis Mumford (BA, Art History), “Homesteading Skill Kit,” Spring 2010.

Select Student Comments

“This class was incredibly engaging and challenged students to interact with contemporary critical theory in an inspiring way. The process of collaboration in group projects was really educational and important to effectively putting into practice the theory we were reading.” (Fall 2013)

“Every time I take a course with Sarah Kanouse, I am challenged and pushed out of my creative and intellectual comfort zone, resulting in creative work that exceeds my own expectations.” (Fall 2013)

“I felt like this was an excellent course. Coming from a background with no art experience, I felt welcomed. There were times I was in a little over my head, but these were not overly common. The readings were appropriate. You were extremely helpful outside of class.” (Fall 2011)

“Professor Kanouse is extremely energetic and thoughtful about the course material and is one of the gems of the entire department. She encourages the development of a critical perspective towards culture in general while stressing the unique cultural position artists are in as producers, interpreters, and conveyers of heightened experience that search to imagine the world as a better place.” (Spring 2010)

“At first, I felt somewhat frustrated by the structure of this class – mostly readings and presentations with less emphasis on making things until the last few weeks. However, in the end, it turned out to be really valuable because that restraint and delay of making forced me to put more effort than ever before into research, and changed my work dramatically in every class across the board.” (Spring 2010)

“Sarah is an extremely intelligent and passionate artist and teacher. It is clear that she has expertise in the field and is very knowledgeable in particular about Art and Ecology. The slide shows and readings were always pertinent to the course…I think it is commendable that Sarah challenges the students and incorporates such theoretical discourse and conversations about contemporary practice (i.e. what artists are doing now). Her course has made me more aware of the bigger picture of contemporary art practice and I feel more engaged with the pressing and urgent dialogues that artists are addressing – it has definitely changed my view (in a very positive way) of the role of the artist in our society.” (Spring 2009)

“This is easily my best class in grad school – I greatly appreciate the energy and rigor you’ve sewn into the course.” (Spring 2009)

 

Iowa Neo-Mountaineers

INM Logo

For over 50 years the Iowa Mountaineers was the largest university mountaineering club in the world. Between 1940 and 1996, more than 70,000 members scaled over 1300 peaks in 11 states and 17 countries. Yet much of Iowa’s most challenging terrain remains unexplored.

A small group of walking enthusiasts formed in Iowa City to correct this oversight. Calling ourselves the Iowa Neo-Mountaineers, we are dedicated to expeditions that remain absurdly local and low relief. If you are up to the challenge of negotiating access to that privately-owned hilltop blanketed in corn, join us, the Iowa Neo-Mountaineers!

Of the fifty states, Iowa has the highest percentage of land in agricultural production. With 98% of its 36 million acres privately owned, Iowa, not surprisingly, ranks 48th in the nation in the percent of land in public ownership. Only Connecticut and Rhode Island have less public acreage, and Iowa is over ten times their size!

Join us as we resurrect the adventurous spirit of the Iowa Mountaineers for an era of climate change, economic crisis, overwork, privatization, and unemployment. Stay close to home, save on gas, avoid the lines, and scale the “seven summits” of Johnson County!

Supplemental oxygen not required.

Credit

Sarah Kanouse and Nicholas Brown, initiators, “Iowa Neo-Mountaineers,” walking club exploring Iowa geography through curated series of group events, 2010-2011

Radiation Limit

Radiation Limit commemorates the human radiation experiments sponsored by the Atomic Energy Commission from 1943 until at least 1974. The site-specific installation for the grounds around the Department of Energy, successor to the AEC, consists of plantings of spiderwort, a plant native to North America that is used to detect the presence of radiation, and contact microphones buried slightly underground and connected to mixer and low power FM transmitter. The highly sensitive contact microphones pick up soil movement around the spiderwort plants and the vibrations of passing footsteps and vehicles. The sounds are mixed together and broadcast via low power radio to the surrounding area. Viewers are provided with portable radios to detect the sonic activity, much as the original experimenters used Geiger counters and other instrumentation to measure exposure to otherwise invisible radiation.

During the Cold War, thousands of people were exposed to radiation in scientific experiments without proper informed consent. Many of these experiments were conducted on prisoners, semi-literate people, terminally ill patients, people of color, and the disabled. Some of the most significant universities and medical centers in the country conducted the studies for the Atomic Energy Commission as well as the Department of Defense, the CIA, NASA, and the National Institutes of Health. In all, the government funded some 4,000 radiation experiments prior to 1974, when rules were adopted to govern the treatment of human subjects in federally-sponsored research. In 1995, President Bill Clinton issued an official apology “to those of our citizens who were subjected to these experiments, to their families, and to their communities. We will no longer hide the truth from our citizens.”

Spiderwort is known as “nature’s radiation detector” because its stamens change color from blue to pink in the presence of radiation, according to independent studies at Brookhaven National Laboratory and Kyoto University. It has a long history of medicinal use by Native Americans, who crushed the leaves to treat insect bites and brewed it into a tea to alleviate menstrual symptoms. The plant’s flower, shoots, and leaves are also edible. A close relative of sedges, lilies and other wetland species, spiderwort requires a semi-shaded, relatively damp location. As such, it is well-suited to rain gardens at the dripline of trees and near footpaths.

Download as PDF: Radiation Limit Poster

Exhibition

Champaign, IL – Krannert Art Museum, “Twenty Two Reviews,” a project by Bonnie Fortune

Credit

Sarah Kanouse, “Radiation Limit,” proposal for public memorial, 2010. Poster design by Becky Nasadowski.

A Post-Naturalist Field Kit for Saint-Henri

Wood box with multiple partitions and instruments
A Post-Naturalist Field Kit (detail)

“A Post-Naturalist Field Kit” updates the naturalist’s toolbox for the exploration of the social ecologies of urban landscapes. The project includes artifacts for exploring environmental issues in the city — from specimen jars to do-it-yourself air quality monitors — along with cards that prompt users to consider relationships among social, economic, and ecological issues.

Images

Post-Naturalist Cards

Post-Naturalist Field Kit Overview

Files

Download as PDF: Post-Naturalist Field Kit Cards

Download as PDF: Pamphlet on Saint-Henri

Exhibitions/Presentations

East Lansing, MI – (Scene) Metrospace Gallery
Detroit, MI – University of Michigan, work●detroit gallery
Montreal, Canada – Concordia University, Arts & Cartography Workshop

Credit

Sarah Kanouse, “A Post-Naturalist Field Kit for Saint-Henri,” 2010

America Ponds

“America Ponds” is a 46-minute alternative audio tour of Crab Orchard National Wildlife Refuge created for Stories in Reserve, a box set of three artist-produced audio tours of unusual sites in North America released by the Temporary Travel Office in 2010.

Located in southernmost Illinois, Crab Orchard is the result of a half-century of economic development efforts directed at this sparsely populated, rural part of the state. Its three lakes were designed and built by the Works Progress Administration in the 1930s, and the Refuge itself was established in 1947 on the site of a shuttered munitions plant. Today, Crab Orchard’s mission includes hosting industrial facilities, and companies producing everything from highlighters to high-caliber ammunition have taken up residence in the wildlife refuge. Fifty years of heavy manufacturing have taken a heavy toll on the place. Since the 1980s, Crab Orchard has been on the Environmental Protection Agency’s National Priorities List—better known as Superfund—which outlines and monitors a clean-up process for the most severely contaminated sites in the United States. Rather than concealing Crab Orchard’s resolutely cultural and political existence, this tour highlights it.  Traveling here is an invitation to think through complexity, to feel our way through contradiction, and to come up with a concept more honest and useful than ‘nature’ to describe the myriad ways we exist with and within the non-human world.

Files

Download entire audio tour as zipped mp3s: America Ponds

Images

America Ponds Installation View
Listening station with touchscreen interface for gallery presentation.

Screenshot of touchscreen interface
Still from touchscreen interface from gallery listening station.

Exhibitions and Presentations

New York, NY – CUNY Graduate Center, James Gallery, 2011
Davenport, IA – Figge Art Museum, “University of Iowa Faculty Biennial,” 2011
Los Angeles, CA – Betalevel, 2010
Palos Heights, IL – Trinity Christian College, Seerveld Gallery, 2010
Chicago, IL – Green Lantern Gallery, 2010
Vancouver, Canada – Emily Carr University READ Bookstore, 2010

Distribution

2010 New York Art Book Fair, MOMA PS1
Half Letter Press
Journal Press

Collections

Chicago, IL – Museum of Contemporary Art, Artist’s Books and Sound (in process)

Credit

Sarah Kanouse, “America Ponds,” 46-minute audio tour released on CD and mp3, 2010