2006. ARTISTS / INTERVENTIONS / LINKS
Arnoud SchuurmanTranslucid View www.arnoud.is.dreaming.org
Chus García FrailePost it www.chusgarciafraile.com
Virginia Corda + Maria Paula DobertiAccidentes urbanos www.virginiacorda.com.ar www.mariapauladoberti.com.ar
Gustav HellbergPulsing Path: una visión ambigua www.gustavhellberg.com
Lorma MartiBlend Out Stefano de Martino+ Karen Lohrmann www.lormamarti.com
Nicole Cousino + Chris VecchioSpeakhere! www.ncousino.comwww.noisemantra.com
Tanadori Yamaguchi + Maki Portilla-Kawamura + Key Portilla-Kawamura + Ali Ganjavian Locutorio Colón www.tadanori.desorde.net/www.studio-kg.com/studio-kg.com
Tao G. Vrhovec Reality Soundtrack www.realitysoundtrack.org www.taogvs.org
Tere Recarens Remolino www.tererecarens.com Wilfredo Prieto Ouroboros www.wilfredo-prieto.com
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2006. DISCUSSION PANELS / 2 feb (video)
Thursday, February 2nd 6pm to 9pmPRESENTATION OF THE MADRID ABIERTO 06 PROJECTS
Place: La Casa Encendida (Ronda de Valencia nº2)Selection carried out by Eva González-Sancho, director of FRAC Bourgogne.Moderates: Ramon Parramon
1Ramon Paramon (presentation)00:00 – 03:00
Virginia Corda y Maria Paula Doberti. Accidentes Urbanos.03:00 – 19:00
Nicole Cousino en colaboración con Chris Vecchio. Speakhere¡ 19:00 – 29:50
Gustav Hellberg. Pulsing Path-ambiguous vision. 29:50 – 43:08
Colectivo Lorma Marti. Blend out. 43:08 – 53:30
Tere Recarens. Remolino. 53:30 – 56:06
Arnoud Schuurman. Translucid View56:06 – 1:01:02
2Arnoud Schuurman. Translucid View00.0 – 01:30
3Tao G.Vrhovec. Reality Soundtrack. 00:15 – 09:00
Maki Portilla-Kawamura, Key Portilla-Kawamura, Tadanori Yamaguchi y Ali Ganjavian. Locutorio Colón.09:00 – 26:36
Wilfredo Prieto. Ouroboros. 26: 36 – 29:28
TALKS AND ROUND TABLES
Ramon Paramon (presentation of the interventions by Jorge Díez, El Perro and Javier Avila)32:35 - 34:48
Jorge Díez: Director of Madrid Abierto. From 2004 to 2005 he was General Secretary of Cultural Management and Promotion of Castilla-La Mancha (Secretario General de Dirección y Promoción Cultural de Castilla-La Mancha).34:48 – 47:44
El Perro: Group of visual artists (Pablo España, Iván López y Ramón Mateos). From 1997 to 2002 they organised the public art exhibition, Capital Confort in Alcorcon. Took part in the organisation of MAD 03 - Arte público. 47:44 – 1:01:03
4El Perro: Group of visual artists (Pablo España, Iván López y Ramón Mateos). From 1997 to 2002 they organised the public art exhibition, Capital Confort in Alcorcon. Took part in the organisation of MAD 03 - Arte público. 00:00 - 01:39
5El Perro: Group of visual artists (Pablo España, Iván López y Ramón Mateos). From 1997 to 2002 they organised the public art exhibition, Capital Confort in Alcorcon. Took part in the organisation of MAD 03 - Arte público. 00:00 – 13:30
Javier Avila: Art critic and exhibition organiser. He has promoted and managed numerous editions of the Periferias project in the city of Gijón.d de Gijón.13:30 – 28:00
Round table28:00 – 48:36
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2006. Nicole Cousino + Chris Vecchio. SPEAKHERE! (technical data)
DE INSTALLATION INSTRUCTIONS FOR SPEAKHERE! THANK YOU!!!!
POINT A
1- unplug the main electric cable
2- unscrew the black disk in the middle of the large metal disk
3- carefully remove the large metal dish - attached with one more screw
4- carefully open up the box - you can rest the plastic structure on the ground
5- un hook all of the electrical cables, mic cable and antenna cable from the radio transmitter
6- close the lid of the box so that the structure is back standing upright
7- using a small screwdriver unscrew the various sections. The section with the microphone can keep the microphone attached inside, and just pull the cable up with it. The taller section has the antenna. Remove each section starting at the top and you should be able to pull the antenna up. If it does not come easily then you have to remove another section to disconnect two cables that maybe stuck in the curved section
8- the final section that is attached to the base can be removed by opening the box and undoing the screws that hold a ring in place for one side. The other side is held in by bolts and can also be undone from inside the box
9- all screws could be put in a bag and shipped inside of the plastic box
10- you will need a wrench to remove the screws that secured the box to the sidewalk
11- there are boxes for the ICOM radio and ASTRON power supply these can be wrapped in bubble wrap and shipped inside of the plastic box that forms the base - please make sure that everything is well packed in so that it does not rattle around in the box.
12- Each of the plastic parts and the metal dish can be wrapped in bubble and should be able to fit in the boxes that they came in
POINT B
1- unplug the main electric cable and pull it up from the ground and perhaps stash it in the bushes so that later Pedro or someone else can disconnect it from the main green box
2- unlock the box and disconnect all of the wiring from the radio receiver
3- inside the box you should be able to unscrew the nuts from the gray plastic grommets that attach the speaker hoses to the box and pull out the speaker wires from inside the box
4- you will need a ladder and heavy duty screw driver to disconnect the wire holding the speakers on the post. Disconnect each speaker
5- each speaker has a green hose with the speaker wire. The speaker wire will need to be disconnected from the speaker itself before the hose can be removed
6- the 2 larger speakers have multiple sections. Unscrew the section first where the speaker is and undo the speaker wires from the speaker
7- the speaker wires in the green hoses can then be disconnected from the speakers by unscrewing the grey connector
8- the speaker wires in the green hoses get coiled up
9- the speakers can then be unscrewed and broken down in to separate sections
10- the smallest speaker that looks like a flower pot – don’t bother trying to disconnect the hose from the speaker – it can stay as one piece
11- there are boxes for the ICOM radio, ASTRON power supply, and SONY audio amplifier. This equipment can be wrapped in bubble, packed well inside the green box and shipped that way
12- the speaker parts should be wrapped in bubble and should fit in the boxes or you may need one additional box to fit everything in
13- the wooden post or “tree” can be removed or lit on fire at the site and the ashes can be taken sprinkled under the shrubs
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2006. Nicole Cousino + Chris Vecchio. SPEAKHERE! (location)
Transmitter: C/ Alcalá. Reciving end: Parque del Retiro, entrada Plaza de la Independencia
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2006. Nicole Cousino + Chris Vecchio. SPEAKHERE! (2005.12 / theoretical data)
BRIEF DESCRIPTION
SPEAKHERE! links bodies across space through sound. By setting up a speaker’s “hole” mounted on a busy intersection of Madrid and a speaker mounted in a park, plaza or alternate public space, personal songs, words, utterances or whispers will be transmitted in real-time to an unsuspecting audience.
LONGER EXPLANATION
SPEAKHERE! is an interactive sound installation with two main components. At one location, (on a street or busy public passage way) a small tube will be installed into a wall or free-standing object. Inside the tube will be a GMRS 3 watt radio transmitter and microphone set up to work as a sending device. A small sign will be mounted next to the tube, inviting visitors/passer-byers to speak into the tube/hole. The sound will then be transmitted, in real time, to a public address (PA) speaker that has been mounted on a tree or a post in a park or other suitable public space. Inside the PA speaker will be another GMRS 3 watt radio that will act as the receiver. The radio is attached to a small amplification unit, used to amplify the sound out the PA speaker. What ever is then spoken, uttered, sung, whispered will be amplified out into the public space that may be a location blocks or miles away from the speaker’s “hole”.
Based loosely on the concept of the Speaker’s Corner in Hyde Park, London, SPEAKHERE! differs in that it provides the speaker/participant with anonymity. Its about the liberation and empowerment of expressing one’s self in public without the neurosis of being on view before a listening audience.
Expressing one’s ideas or opinions in a public space can be seen to be a contentious or political act and is often shunned, especially in urban cities. Usually the only voice projected in the public space is that of the state or a religious entity. This project provides an opportunity for a diverse array of individuals of various cultures, languages, perspectives, attitudes and opinions to express themselves to a potential audience.
The receiving end…
The second difference between the Speaker’s Corner and SPEAKHERE! is that the one speaking into the “hole” will not know if there is a listener on the other end. Is one speaking to the wind, the trees, a crowd of elderly hard of hearing, police officers or children or…? But, if there is an audience listening, SPEAKHERE! aims to transform the public space by injecting it with a sense of the unanticipated and spontaneous. The installation also attempts to a link geographical spaces - from the location of the speaker’s “hole” to that of the public space/park where the PA speaker would be mounted.
ADDITIONAL OPTIONS
When the piece was installed in Chicago, IL, USA the signage surrounding the Speaker’s “hole” said
Speak freely, rant, rave, articulate, sing, sputter, vocalize your thoughts, ideas, poems, songs, utterances to an audience of pedestrians, commuters, wonderers, lingerers, loiterers, citizens, associates, comrades, friends, sisters, brothers, cats, birds, foliage, inanimate objects, unseen forces, the ether, bread crumbs…
For Madrid the text that invites one to participate could be specific to Madrid or it could also change each week asking passer-byers to speak out about particular topics, questions, etc.
(December 2005)
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2006. Nicole Cousino + Chris Vecchio. SPEAKHERE! (published text)
SPEAKHERE! links bodies across space through sound. By setting up a speaker’s “hole” mounted on a busy intersection of Madrid and a sound system mounted in a park, personal songs, words, shouts, utterances and whispers will be transmitted in real-time to an unsuspecting audience.
Based loosely on the concept of the Speaker’s Corner in Hyde Park, London, SPEAKHERE! differs in that it provides the speaker/participant with anonymity. It offers the liberation and empowerment of expressing one’s self in public without the neurosis of being on view before a listening audience.
Expressing one’s ideas or opinions in a public space can be seen to be a contentious or political act and is often shunned, especially in urban cities. Usually the only voice projected in the public space is that of the state or a religious entity. This project provides an opportunity for a diverse array of individuals of various cultures, languages, perspectives, attitudes and opinions to express themselves to a potential audience.
The second difference between the Speaker’s Corner and SPEAKHERE! is that the one speaking into the “hole” will not know if there is a listener on the other end. Is one speaking to the wind, the trees, a crowd of elderly hard of hearing, police officers or children or…? But, if there is an audience listening, SPEAKHERE! aims to transform the public space by injecting it with a sense of the unanticipated and spontaneous.
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2006. Nicole Cousino + Chris Vecchio (Cv)
NICOLE COUSINOCHULA VISTA, CALIFORNIA, 1966LIVES AND WORKS IN CALIFORNIAWWW.NCOUSINO.COM
CHRIS VECCHIO PHILADELPHIA, USA, 1964LIVES AND WORKS IN PHILADELPHIAWWW.NOISEMANTRA.COM
WORK EXPOSED IN MADRID ABIERTO: SPEAKHERE!
Chris Vecchio is an electrical engineer who began creating sculptural devices and art installations in an effort to better understand the relationship between man and technology. His devices serve as props which precipitate interaction with, and dialog about, technology. He is particularly interested in the narrative potential of electronic circuitry and in the use of ambiguous but suggestive user interfaces to generate new modes of interaction.
Chris holds a PhD in Electrical Engineering and has over 20 years of analog, digital, and software design experience. Over the course of the past 10 years his work has been exhibited frequently in both the US and Europe. He is currently Chairman of the Board at Nexus, Foundation for Today’s Art and the Director of Research and Development for medical instrumentation company Spectrasonics Inc.
Drexel University, Philadelphia
NICOLE COUSINO EDUCATION1997· MFA. Rutgers University, New Brunswick, New Jersey
1990· BA. San Francisco State University, San Francisco, California
VISUAL ART 2005· Detourism Bureau. Contemporary Artists Center, North Adams, MA
2005· VERSION>05. Public Media Institute, Chicago, IL
2003· Pretty Lies, Dirty Truths. BC Gallery, Laguna Beach, CA
2002· Group Photo Show. RAID Projects, Los Angeles, CA· Democracy When. Los Angeles Contemporary Exhibits, Los Angeles, CA· Re-Public Relations. Parkhaus, Dusseldorf, Germany
2001· Border Hack 2.0. Playas de Tijuana, Tijuana, Mexico· Violate Nature. Private land, Morongo Valley, CA
1998· The Female Gaze: Women Look At Men. Pyramid Art Center, Rochester, NY
1996· RUTGERS/YALE Graduate Sculpture Exhibition. Mason Gross School of the Arts Gallery, New Brunswick, NJ
1994· Home Base. New Langton Arts, San Francisco, CA
1992· Smashing Myths In The Information Age. Paper Tiger TV West collaborative show Walter McBean Gallery, San Francisco, CA
1991· Conservative Show. Show n' Tell Gallery, San Francisco, CA
1990· Pitstops On The Innerstate. Armpit Gallery, San Francisco, CA
VIDEO DOCUMENTARY2003· Kalundborg. 12-minute experimental documentary video (2004) VI Cologuio Internacional Arte Digital: Poeticas y Lenguajes, Havana, Cuba; Restcycling Art Festival, Berlin, Germany; LAISLE Video Art Festival, Rio de Janeiro, Brazil
2002· Concrete & Sunshine. 60-minute documentary (2004 Documental, Santa Monica, CA); 2003 Visualized Film Festival, Denver, CO. New College, San Francisco, CA. Appendix Gallery, Copenhagen, Denmark; 2002 International Film Festival of Documentary Film CRONOGRAF, Chisinau, Republic of Moldova. Ajijic Festival International de Cine, Ajijic, Mexico. Free Speech TV national cablecast
1998· TALLER P.A.C.A. 15-minute documentary. Produced for CARE International Ecuador and Rutgers University
1995· Fat Of The Land. 60-minute documentary. SELECTED SCREENINGS: 2001 MACBA, Barcelona, Spain; Selected PBS Stations via Free Speech TV- broadcast nationwide. 2000 Ontario Cinematheque, Ontario, Canada. 1999 Global Visions Festival, Edmonton, AB, Canada. 1998 Yerba Buena Center, San Francisco, CA. 1997 Museum of Modern Art, New York NY. 1996 Atlanta Film Festival, Atlanta, GA; Pacific Film Archives, Berkeley, CA; Melbourne International Film Festival, Melbourne, Australia; Images Film & Video Festival, Toronto, ON; National Educational Film & Video Festival, Oakland, CA; Charlotte Film & Video Festival, Charlotte, NC; Portland Art Museum, Portland, OR; 911, Seattle, WA; The Exploratorium, San Francisco, CA; 1st National Congress for Democratic Media, San Francisco, CA. 1995 Dallas Film Festival, Dallas, TX; Film Arts Foundation Festival, San Francisco, CA; Site, Santa Fe, NM. AWARDS: Bronze Apple National Educational Film & Video Festival, Oakland, CA; 1st Place USA Super 8mm Festival, New Brunswick, NJ; 1st Place-Documentary Sauguro Film and Video Festival, Sauguro, AZ; $200 Award Athens Film and Video Festival, Athens, OH; Honorable Mention Images Festival, Atlanta, GA
1993· Feminist Trilogy For Paper Tiger TV· Call It What It Is. 30-minute documentary. 1993 SFCameraworks, San Francisco, CA. “WAC is Watching!” Other Cinema, San Francisco, CA· Sisterhood TM. 30-minute documentary. 1994 Free Video America, Yerba Buena Center, San Francisco, CA; Women's Resources Film Festival, New York, NY. 1993 SFCameraworks, San Francisco, CA; New Langton Arts, San Francisco, CA· Wired For Action. 30-minute documentary. SFCameraworks, San Francisco, CA
1992· Sanguis Semen Christorium. 60-minute documentary. 1992 Public Access TV, San Francisco, CA
SHORTS / EXPERIMENTAL / NARRATIVE2005· here is neither the this nor the that. 10-minute experimental narrative video. 2005 ACCEA International Experimental Video Festival, Armenia
2002· The Bird. 3-minute experimental video. 2003 Cinemania[c], Pula Film Festival, Zagreb, Croatia; 2002 Swamp Festival, Pomona, CA. LA Screens, 2012 Gallery, Los Angeles, CA· 2 A-CLIP VIDEOS for A-CLIP III. 2 90-second experimental videos. 2002 Los Angeles/Berlin/London public screenings
1998· Lovestory. 5-minute experimental narrative video
1997· 6 Of 1. 15-minute experimental video. 1997 Rutgers University, New Brunswick, NJ
1996· Asteriod. 10-minute experimental video· Spirit Of A Nation. 5-minute experimental video. 1997 Other Cinema, San Francisco, CA; Images Film & Video Festival, Toronto, ON; College Arts Association MFA Exhibition, Hunter College, New York, NY; Locating Feminism, Pembroke Center, Brown University, Providence, RI. 1996 Fugitive Dyads, Knitting Factory, New York, NY
1990· Repressed Transactions. 5-minute experimental video. Film Arts Foundation, San Francisco, CA. 1990 Other Cinema, San Francisco, CA
CURATORIAL PROJECTS2001· Violate Nature. 15 Artists were invited to produce site-specific work, in a 5-acre area of desert, which aimed to disrupt “natural” sites and systems. Private land, Morongo Valley, CA
1997· 6 0f 1 Video Collaboration. 6 video artists created works based on an newspaper article about an action done by a female member of the Weathermen
1988· Armpit Gallery. Co-Curator/Director of an independent artspace that produced monthly shows of local art, performance, theater, film, music and installation that emphasized the element of “interactivity”· Irrigate The Media Wasteland. Survey of Independent Media including the Internet, Zines, Billboard Alteration, Pirate Radio and Public Access TV, Armpit Gallery, San Francisco, CA
1990· Urban Scrawl. Showing of artwork addressing the AIDS Crisis. Armpit Gallery, San Francisco, CA
GRANTS AND AWARDS2005· Leeway Foundation Art & Change Grant Recipient
2002· Durfee Foundation Completion Grant Recipient
2000· LA Freewaves Video Festival Board Member
1997· USA Super 8 Film & Video Festival Finalist Judge
1996· Dodge Foundation Grant Recipient for the Flaherty Film Seminar
1995· MGSA Scholarship, Rutgers University, New Brunswick, NJ· Member of Artist Committee, San Francisco Art Institute, San Francisco, CA· San Francisco Independent Film Festival Judge· National Educational Film & Video Festival Judge, Oakland, CA
1994· Ben & Jerry's National Grant Recipient· New Langston Arts Annual Award
1992· California Council for Humanities Mini-Grant Recipient Panels
1996· Images Film Festival Panel Discussion: Environment & Technology Toronto, ON, Canada
1995· Boundaries in Question Conference, UCB, Berkeley, CA· Diablo Valley College Environmental Technology Association, Diablo Valley, CA
BIBLIOGRAPHY· Steve Montgomery, The 1st NYC Sierra Club Film & Video Festival, International Documentary, 1997, p. 19-20, Los Angeles, CA.· Jane Farrow, Low Rent Media and Hi-Fat Message: Culture Jam Meltdown at the Images Festival, POV (Canadian Independent Film Caucus, Toronto), Fall 1996 Issue No. 30, P. 27-29· John Foyston, Greasy Riders in Fat City, The Oregonian, March 28, 1996· Roy Chung, Fat of the Land, Los Angeles Times, Sep. 29, 1995· The Skinny on the Fatmobile, The New York Times Magazine, Feb. 5, 1995· Kristy O'Rell, Greasy Riders: Cross Country on Fat, Boing Boing, San Francisco, CA, Number 13, 1995· Kristy O'Rell, “Greasy Riders”, in The Happy Mutant Handbook, Ed. Carla Sinclair, New York: Riverhead Books, 1995, P. 154-57· Karen Weiner, Greasing Down the Highway: The Making of Fat of the Land, Video Networks, BAVC: San Francisco, CA, Oct.-Nov. 1995· Giles Whitell, Greasy Riders Finish 3000 Mile Odyssey, London Times, Sep. 3, 1994· James O. Clifford, Lard Car Oozes into SF After Trek on French Fry Fuel, San Francisco Examiner, Aug. 29, 1994· Fry Power, USA Today, Aug. 29, 1994· Van in Fat City: French Fry Oil Fuels Unique Trip, San Jose Mercury News, Aug. 29, 1994· 6 0f 1 Video Collaboration. 6 video artists created works based on an newspaper article about an action done by a female member of the Weathermen
1988· Armpit Gallery. Co-Curator/Director of an independent artspace that produced monthly shows of local art, performance, theater, film, music and installation that emphasized the element of “interactivity”· Irrigate The Media Wasteland. Survey of Independent Media including the Internet, Zines, Billboard Alteration, Pirate Radio and Public Access TV, Armpit Gallery, San Francisco, CA
1990· Urban Scrawl. Showing of artwork addressing the AIDS Crisis. Armpit Gallery, San Francisco, CA
..........................................................................................................................................................CHRIS VECCHIOEDUCATION1992· Ph.D. in Electrical Engineering
1987· B.S. in Electrical Engineering
SOLO EXHIBITIONS (SELECTED)2005· Susquehanna Museum of Art. Harrisburg· Myers Gallery at the Tulsa Living Arts Center
2003· Dzyga Institute of Contemporary Art. Lviv, Ukraine
2002· Evidence of Toolmaking. Nexus, Foundation for Today’s Art, Philadelphia
1999· Technology Fetish, An exhibition of handmade electronic objects. Nexus, Foundation for Today’s Art, Philadelphiagroup exhibitions (selected)
2004· Subtle Nothings. Borowsky Gallery, Philadelphia
2002· Hungarian Sculptural Exchange Exhibition. Janus Pannonius Museum, Pecs, Hungary· Bio-Tech. DaVinci Art Alliance, Philadelphia· Building Unique Works. Washington Square, Washington
2001· Contemporary Philosophie. Bridgette Mayer Gallery, Philadelphia· New Directions. Main Line Art Center, Haverford· Future Imperfect. Sharadin Gallery, Kutztown University, Kutztown
2000· Construction, works that challenge the categorical definitions of art. Painted Bride Art Center, Philadelphia· Every day I think of you, installation, supported by the Philadelphia Fringe Festival· Beginnings and Endings. Delaware Center for Contemporary Art, Wilmington· Place of Memory: an archaeology of site specificity. Temple University Gallery, Philadelphia
1999· Bridging the Gender Gap, Proximity, and Window to the Past. Visual Fringe Festival in conjunction with Dissentia Curatorial Services, Philadelphia
PUBLICATIONS2005· "Dorkbot" Lecture· NPR Radio Interview· Tool Time. James D. Watts Jr. Tulsa World, 6 January 2005
2003· ЕксГібіція прИлаДіВ Львівянам сподобалася. Yarena Koval, L’vivska Gazette, 15 August 2003· мИ маемо про Це поГоВорИТИ..., Natalia Kosmolinska, L’viv Post, 16-17 August 2003
2002· NPR Radio Interview, Listen. Aries Keck, WHYY FM, 20 June 2002· Tools of the Trade, Edward Higgins, South Philadelphia Review, 20 June 2002, p. 23· Bells and Bone Whistles, Roberta Fallon, Philadelphia Weekly, 3 July 2002· Evidence of Toolmaking, Marisa Mariscotti, www.digitalcity.com/philadelphia, June 2002· Pick of the Week, Evidence of Toolmaking at Nexus, Nikki Roszko, Philadelphia City Paper, 6 June 2002, p. 47· Power to the People, Art in Science XVI: Electricity, Nikki Roszko, Philadelphia City Paper, 4 April 2002
2001· Sharadin Enters the Future of Art, Monica Ortwein, The Kutztown Keystone, 15 February 2001, p. 7· Exploring Technology’s Human Side, Ron Schira, Reading Eagle Times, 23 February 2001, p. W8· Perfect Strangers, Roberta Fallon, Philadelphia Weekly, 28 February 2001
1999· Robot Poetry Radio, Raj Thadani, Sound Collector Magazine, Vol. 4, 1999, pp. 37-40· Local Color, Edward Higgins, South Philadelphia Review, 27 May 1999, p. 27· Current Events, Gerard Brown, Philadelphia Weekly, 21 April 1999· Rubber Soul, Robin Rice, Philadelphia City Paper, 16 April 1999· Case For Art, Edward Sozanski, Philadelphia Inquirer, 16 April 1999
1998· Bella Vista’s Poet of the Airwaves, Mark Davis, Philadelphia Inquirer, 3 November 1998, p. B1
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