SOUVENIR: Museum of Analysis

1.1
“Untitled. 1” Contemporary Arts Center, New Orleans, LA. 1978. Temporary installation incorporating bamboo and florescent light. Digital scan from 35mm slide.

1,2
“In the Silent Space of Memory.” Installation. “Louisiana Environments.” Group Exhibition. Contemporary Arts Center, New Orleans, LA. 1977; Digital scan of image from newspaper article.

1.3
Bar Sketch, De Werlt Café, Leuven, Belgium, never exhibitied, 1975-76; digital scan of original artwork.

1.4
Sketch on Bar Coaster , Le Renard Café, Leuven, Belgium, never exhibitied, ;1975-76; Digital scan of original artwork.

1.5
“Origin/Destination – Performance Sculpture.” University of New Orleans, New Orleans, LA.; 1978. Digital Scan of Xerox Poster.

1.6
“Origin/Destination – Performance Sculpture,” University of New Orleans, New Orleans, LA.; 1978. Digital scan of Polaroid.

1.7
“I 1.1” Performance score for installation. Contemporary Arts Center. New Orleans, LA. 1978. The rooftop installation made of twigs and bound with jute was based on the ‘conceptual music’ score/notation.

1.8
“I 1.1” Installation – with an accompanying music score. Contemporary Arts Center. New Orleans, LA. 1978. The rooftop installation made of twigs and bound with jute was based on the ‘conceptual music’ score/notation.

1.9
“Untitled. 2” Contemporary Arts Center, New Orleans, LA. 1978. Temporary installation incorporating bamboo and florescent light. Digital scan from 35mm slide

1.10
“J.1.1” (detail) “Five Aerial Sculptures.” Curated by Rudy Lemcke. Contemporary Arts Center, New Orleans, LA. 1978. The installation consisted of a set of suspended bamboo sculptures suspended above a musical score that was written in chalk on the floor below. The exhibition was 5 artists work that was suspended from the 40 foot ceiling of the Contemporary Arts Center.

1.11
“I1.2” “Monuments—an Artists Burial Ground.” Contemporary Arts Center. New Orleans, LA. 1978. The installation (built in the basement of the Contemporary Arts Center) was based on a musical score based on a funeral dirge. Piles of dirt marked a path that was a physical translation of the score into 3D. Because of fire and safety reasons the piece was dismantled. A video of the installation was shown in the exhibition.

1.12
Screen grab from “Monuments—an Artists Burial Ground.” Contemporary Arts Center. New Orleans, LA. 1978. A screen grab from Denise Vallon’s video installation. She videotaped her friends doing things that were not generally known to the general public about the artists’ lives. These videos were placed in her ‘video crypt.’ My video was me playing a Shoenberg piano piece on her out of tune piano.

2.1
“Dearth Songs – Performance Scores. 1 of 8 drawings.” Performance Score. Intersection for the Arts, San Francisco, California. 1989. 50-A Bannam Street, San Francisco, California. 1982

This score was first created in 1977. First exhibited at 50-A Bannan Street Gallery. It was finally adapted as part of the “Fin again(s) Wake” exhibition at Intersection for the arts in 1989.

2.2
“Private Garden.” Southern Exposure Gallery. San Francisco, CA. 1980. A Performance Score and installation.

2.3
“Fantastic Garden.” Southern Exposure Gallery. San Francisco, CA. 1979. A Performance Score and installation. First Exhibition in San Francisco

2.4
“Death Songs – Performance scores. 1 of 8 drawings.” Intersection for the Arts, San Francisco, California. 50-A Bannam Street, San Francisco, California. New Space Drawing Show. New Space Gallery. New Orleans, LA 1977.

2.5
“Garden.” Lawson Galleries, San Francisco, CA. 1982. Digital scan of photo contact sheet showing 4 views of the interior installation. A surveillance camera presented the interior gallery from an outside room. A print of the famous photograph of the self-immolating Buddhist priest hung along side of the surveillance monitor.

2.6
“Garden.” Lawson Galleries, San Francisco, CA. 1982. Image of a Buddhist priest, self-immolating in protest of the Vietnam war was used for the invitation to the exhibition.

2.7
“Unheard Words.” Performance score. 1 0f 28 drawings. From: “Phases of the Moon. “ 28 performance scores and earthwork. Falkirk Cultural Center. San Raphael, CA. 1985. 28 performance scores were put together as an artist book that accompanied an earthwork/installation at Falkirk.

2.8
“Phases of the Moon. “ 28 performance scores and earthwork. Falkirk Cultural Center. San Raphael, CA. 1985. 28 performance scores were put together as an artist book that accompanied an earthwork/installation at Falkirk. The image is a digital scan of a contact sheet of photographs of the installation. The piece was a set of 8 bolders—each representing a phases of the moon—that were placed along a path behind the Art Center.

2.9
“Willits—Within and Without You.” Installation. Triton Museum of Art. Santa Clara, California. 1985. Digital scan of a contact sheet of photographs of the exterior installation at Triton Museum. The piece was composed of 2 installations: an interior garden and set of performance scores and and exterior garden. The elements of the interior garden were moved once a week to represent the movement of the stars as they moved hourly through the night sky. The exterior garden represented the position of the stars above California at sunset during the 2 months of the exhibition.

2.10
“Death Songs.” Detail of installation. 50-A Bannan Street. San Francisco, CA. Two installations were made for this exhibition. “Death Songs,” was a set of 8 performance scores and accompanied an installation of 8 white toy pianos on beds of raked sand. This image is one of the toy pianos from the installation. There is no photo of the second installation called “Protheus.”

2.11
“Wild Flowers.” Performance score. 1 0f 28 drawings. From: “Phases of the Moon. “ 28 performance scores and earthwork. Falkirk Cultural Center. San Raphael, CA. 1985. 28 performance scores were put together as an artist book that accompanied an earthwork/installation at Falkirk.

2.12
“Danteum.” Installation. Richard L. Nelson Gallery, U.C. Davis, Davis, California. 1986. Kala Institute, Berkeley, California. 1986. The image is of the central feature of the installation that was a 17 x 17’steel parterre, raised 3 inches from the floor with a sound element of a woman’s voice. The steel garden was an imaginary public work that was created for a building that was never built that commemorated Mussolini’s rise to power. Fashioned after Dante’s “Divine Comedy,” the building leads the pilgrims through Hell, to Purgatory and eventually to the great Hall of the Spirit, which was an emblem of Mussolini and the Fascist State.

3.1
“Picture.” “ACT-UP,” Banner Paintings. Southern Exposure Gallery, San Francisco, California.1989. One of 24 paintings used texts about the AIDS crisis. Each painting layered several narratives and used a central “call to action” as title and primary message.

3.2
“Cinders.” Painting created for, “20 Year Survey of Southern Exposure,” Southern Exposure Gallery, San Francisco, California, 1995. The piece was made by burning obituaries of people who had died in the AIDS epidemic and then attaching the cinders to a canvass using encaustic and oil paint created the painting.

3.3
“Untitled Protestors.” “Remembering the 6^th International Conference on AIDS.” Eye Gallery, San Francisco, CA. 1991. Image from a street demonstration during the 1990 San Francisco ICA.

3.4
“Untitled Protestors.” “Remembering the 6^th International Conference on AIDS.” Eye Gallery, San Francisco, CA. 1991. The Image is from a street demonstration during the 1990 San Francisco ICA.

3.5
“Silence/Statement.” Artist statement that accompanied the exhibition. 1 of 4 panels. “Monument & Memorial,” New Langton Arts, San Francisco, California.1988. Models of “Garden,” an AIDS memorial that I had designed for the Harvey Milk Plaza were displayed in this exhibitions about monuments and memorials.

3.6
Studio Image. Circa 1988. View of drawings/studies for the granite stones that were one of the features of the “Garden” (AIDS Memorial for Harvey Milk Plaza).

3.7
“Morphine.” Drawing. From the “Fin again(s) Wake” series. Intersection for the Arts, San Francisco, California. 1989. The series used text from Joiyce’s Finnegan’s Wake to create mesostic poems using AIDS drugs as their central axis.

3.8
“Fin again(s)” Wake.” Exhibition invitation. Intersection for the Arts, San Francisco, California. 1989.

3.9
“Glinda.” “Wizard of Oz Series.” “AIDS Timeline,” Group Material, University Art Museum, Berkeley, California. 1989. Modernism Gallery. San Francisco, CA. 1991. “AIDS Timeline,” Group Material, Whitney Biennial, Whitney Museum of American Art, New York. 1991.

3.10
“Untitled (chest with snowflake).” Screen Grab from an interactive CD-ROM, “My Dead.” 1996

3.11
“Untitled (last page of Joyce’s The Dead).” Screen Grab from an interactive CD-ROM, “My Dead.” 1996. The last page of James Joyce’s The Dead was used as the interface for the CD-ROM. Pronouns used for identifying the gender of the characters in this short story were “white-d out’ and used as the hyperlinks to the multi-image-text narrative.

3.12
An image of me. Circa 1985

4.1
“Clean Works.” Detail of Window Installation for the first Day Without Art ( A national arts intervention to bring attention to the AIDS crisis). Intersection for the Arts. San Francisco, CA 1989.

4,2
“Untitled” from “Walkabout,” an interactive Web Art project. Created at the San Francisco State College Multi-Media Studies Program.

4.3
“Untitiled” From “The Elision of Master Narratives.” One of a series of 8, 10 x 12’ paintings. Never exhibited. 1991.

4.4
“Immemorial.” Performance sculpture. Day Without Art Installation. Hearst Court. De Young Museum. 1992.

4.5
“Homosuite.” CD-ROM cover artwork. 1997/98.

4.6
“Mimique.” Oil on canvass painting. Collection of Jonathan Katz. 1991. Never exhibited.

4.7
“Meatrack.” Image from interactive CD-ROM, “Haunted House.” 1995? Re-presented as a still image in “Picturing AIDS: 1986 – 1996.” The Center. 2007.

4.8
“Lover 7.” Screen grab from video. 2002 was adapted from an earlier piece called “Perfect Lover,” Net Art Project sponsored by QAR. San Francisco. 1998.

4.9
“Untitled (Cala Lily).” Screen Grab from an interactive CD-ROM, “My Dead.” 1996.

4.10
“Untitled.” CD-ROM cover artwork for “Mourning Becomes Ecstatic.” 1997?

4.11
“Untitled (Man Hiding His Identity).” Still image from “The Origin of Light.” Interactive CD-ROM with artist book. 2003.

4.12
“Zeit.” Screen grab from dual channel video, “Sein und Zeit.” “Ordinary Language.” Lux Gallery. San Francisco, CA 1999.

5.1
“Light Readings.” Screen grab from video. 2003. First presented as part of “Light F/X” video installation. ATA Gallery. 200

5,2
“Bardo.” Screen Grab from video 2000.

5.3
“Songs for the Submerged.” Screen grab from video. 2000.

5.4
“Caress (after Roland Barhes). Screen grab from video. 2001. First screened as part of “Ordinary Language.” Lux Gallery. San Francisco, CA 1999.

5.5
“The Uninvited.” Screen grab from video. 2000. First presented as part of “Light F/X” video installation. ATA Gallery. 2004

5.6
“Water lilies.” Screen grab from video. 2003. First presented as part of “Light F/X” video installation. ATA Gallery. 2004

5.7
“The End of Beauty.” Screen grab from video. 2002. First presented as part of a video installation, “The Forgetfulness of Being.” The Center. San Francisco, CA 2003.

5.8
“Silent Screen.” Screen grab from video. First presented as part of “Light F/X” video installation. ATA Gallery. 2004

5.9
“Domination of Black.” Screen grab from video. First presented as part of “Light F/X” video installation. ATA Gallery. 2004

5.10
“Dark Matter.” Screen grab from video. First presented as part of a video installation, “The Forgetfulness of Being.” The Center. San Francisco, CA 2003.

5.11
“Dark Matter.” Screen grab from video. 2001 First presented as part of a video installation, “The Forgetfulness of Being.” The Center. San Francisco, CA 2003.

5.12
“Lightning Field.” Screen grab from video. First presented as part of “Light F/X” video installation. ATA Gallery. 2004

6.1
“Untitled” image used for exhibition announcement. “Forgetfulness of Being.’ The Center. San Francisco, CA. 2003

6.2
“Untitled (Eclipse).” “The Origin of Light.” Screen grab. Interactive CD-ROM and artist book.

6.3
“Untitled (Lovers).” “The Origin of Light.” Screen grab. Interactive CD-ROM and artist book.

6.4
“Untitled (Notebook).” “The Origin of Light.” Screen grab. Interactive CD-ROM and artist book.

6.5
“Untitled (Writing Desk).” “The Origin of Light.” Screen grab. Interactive CD-ROM and artist book.

6.6
“The Butterfly Collection of Miss Emily Watson.” Screen grab from video. 2004. First presented at Jon Sims Center for the Arts. San Francisco, CA. 2004

6.7
“Does Snow Fall On Mars?” Screen grab from web video, “September – Videoblog.” 2005

6.8
“Seit.” Screen grab from dual channel video, “Sein und Zeit.” “Ordinary Language.” Lux Gallery. San Francisco, CA 1999.

6.9
“Untitled (Horizon).” “The Origin of Light.” Screen grab. Interactive CD-ROM and artist book.

6.10
“Dirvishes.” Image from exhibition announcement. “The Butterfly Collection of Miss Emily Watson.” 2004

6.11
“Sherlock Holmes.” Screen grab from video, “Dark Matter.” 2001 First presented as part of a video installation, “The Forgetfulness of Being.” The Center. San Francisco, CA 2003.

6.12
“Untitled (Blind).” “The Origin of Light.” Screen grab. Interactive CD-ROM and artist book.

7.1
“Second Plane.” Screen grab from video, “Quartet.” 2004

7.2
“Road to the Spiral Jetty – 2002.” Screen grab from video. 2003.

7.3
“World Trade Center.” Screen grab from video, “Quartet.” 2004

7.4
“Closed Position – I Ching.” Screen grab from video, “Quartet.” 2004.

7.5
“Road to the Spiral Jetty – 2002.” Screen grab from video. 2003.

7.6
“Tornado.” Screen grab from video, “Quartet.” 2004.

7.7
“Road to the Spiral Jetty – 2002. Field Notes.” Screen grab from video. 2003.

7.8
“Microscope.” Screen grab from video, “Quartet.” 2004.

7.9
“Open Position – I Ching.” Screen grab from video, “Quartet.” 2004.

7.10
“Road to the Spiral Jetty – 2002. Field Notes.” Screen grab from video. 2003.

7.11
“Untitled (2 lights).” “The Origin of Light.” Screen grab. Interactive CD-ROM and artist book.

7.12
“Abi Graib.” Screen grab from video, “Quartet.” 2004

8.1
“Smoothing out the Folds.” Screen grab from web video, “September – Videoblog.” 2005

8.2
“Butterfly Stamps.” Screen grab from web video, “September – Videoblog.” 2005

8.3
“Taj Mahal.” Screen grab from web video, “September – Videoblog.” 2005

8.4
“The Ornithologist.” Screen grab from web video, “September – Videoblog.” 2005

8.5
“Mushroom – Origami.” Screen grab from web video, “September – Videoblog.” 2005

8.6
“Superman.” Screen grab from web video, “September – Videoblog.” 2005

8.7
“Christmas Lights.” Screen grab from web video, “September – Videoblog.” 2005

8.8
“My House from Google Space.” Screen grab from web video, “September – Videoblog.” 2005

8.9
“Invisible Man.” Screen grab from web video, “September – Videoblog.” 2005

8.10
“Moby Dick.” Screen grab from web video, “September – Videoblog.” 2005

8.11
“The End.” Screen grab from web video, “September – Videoblog.” 2005

8.12
“7,200 Drawings of Bill T. Jones.” Screen grab from video. 2003.

9.1
“Two Manaquins.” Study for “City of the Future (after Tarkovski’s Solaris).” 2 channel video installation. SomArts Gallery. San Francisco, CA. 2006.

9.2
“After Breton.” Study for “City of the Future (after Tarkovski’s Solaris).” 2006. 2 channel video installation. SomArts Gallery. San Francisco, CA. 2006.

9.3
“Mouth.” Study for “City of the Future (after Tarkovski’s Solaris).” 2006. 2 channel video installation. SomArts Gallery. San Francisco, CA. 2006.

9.4
“Emblem from ‘Altanta fugein’.’” Study for “City of the Future (after Tarkovski’s Solaris).” 2006. 2 channel video installation. SomArts Gallery. San Francisco, CA. 2006.

9.5
“City of the Future.” Study for “City of the Future (after Tarkovski’s Solaris).” 2006. 2 channel video installation. SomArts Gallery. San Francisco, CA. 2006.

9.6
“Ocean – Solaris.”   Study for “City of the Future (after Tarkovski’s Solaris).” 2006. 2 channel video installation. SomArts Gallery. San Francisco, CA. 2006.

9.7
“After Breton 2.”   Study for “City of the Future (after Tarkovski’s Solaris).” 2006. 2 channel video installation. SomArts Gallery. San Francisco, CA. 2006.

9.8
“Infinite Loop.” Study for “City of the Future (after Tarkovski’s Solaris).” 2006. 2 channel video installation. SomArts Gallery. San Francisco, CA. 2006.

9.9
“Ghosts in the Machine.” Study for “City of the Future (after Tarkovski’s Solaris).” 2006. 2 channel video installation. SomArts Gallery. San Francisco, CA. 2006.

9.10
“Mimique.” Study for “City of the Future (after Tarkovski’s Solaris).” 2006. 2 channel video installation. SomArts Gallery. San Francisco, CA. 2006.

9.11
“After Breton 3.” Study for “City of the Future (after Tarkovski’s Solaris).” 2006. 2 channel video installation. SomArts Gallery. San Francisco, CA.

9.12
“The Future.” Neon sculpture for “City of the Future (after Tarkovski’s Solaris).” 2006. 2 channel video installation. SomArts Gallery. San Francisco, CA. 2006.