Contents

6 71

Chronology The Gift that Keeps on Giving Sarah Krajewski 7 77 Power in the Gift Shop Matthew Offenbacher On Generosity Elizabeth Brown 26 87 I know I know Jenny and Joe Image Captions and Credits 34 90 The Gift Shop Presents: Presents Colophon 40

The Atlas of Gifted Ideas

46

Moonlight Requisition

54

Work Song

62

Champagne Truffles

70

Surveys

5 Power in the Gift Shop fantastic than Galbraith’s. He details the Matthew Offenbacher practicalities of fetish, fantasy, and role play in consensual SM exchanges, interspersed with The collaborative groups of The Gift Shop short fiction. Townsend is concerned with the took very different approaches to making their fulfillment of the desire to exert or be subject exhibitions. Yet they all positioned themselves to power. “In our very complex society,” he in relation to authority in interesting ways. writes, “it is not always possible for a man to Why this particular interest in power? I work himself into the professional or social have two books here I hope will suggest some situations where his dominant-submissive answers. One is an elegant cloth-covered needs are fulfilled.” Erotic play with power hardback with nice thick paper. The front can be a way to fulfill these needs: “everything board has the monogram J K G discreetly within an SM exchange is done with the intent embossed in gold italic. The other is a ragged of producing physical or emotional pleasure.” yellowing paperback. On its cover is a drawing CHRO- of a muscular man in a black leather vest and Personality I pants, showing off his swollen pecs and erect nipples. The first exhibition in the Gift Shop was Jenny The hardback is economist John Zwick and Joe Park’s I know I know Jenny and Kenneth Galbraith’s The Anatomy of Power. Joe. Their installation was magically, cheaply Galbraith begins his dissection of power romantic. In a darkened room, beneath a by quoting Max Weber, who says power is night-light moon, a looping video of Jenny and May “the possibility of imposing one’s will on the Joe standing side-by-side was projected onto Meetings with Liz, Sara, Betsey, Paul behavior of other persons.” Power is what two life-size cardboard cutouts. They stood Cabarga and other museum staff. makes things happen, Galbraith explains, but in a long metal canoe propped crookedly on Liz articulates the following as the sawhorses; a fan, a strand of tinsel, and a blue- guidelines for what can happen in the its sources and the instruments through which April 2009 Gift Shop: “no immediate danger of August it is exerted are often obscure. What separates filtered florescent tube suggested water below. Matthew Offenbacher e-mails death, no open flames.” The Henry operations staff empties those who exercise power from those who are Wearing similar outfits (glasses, dark blue NOLOElizabeth Brown, Sara Krajewski out the books, posters,- folding subject to it? Galbraith identifies three sources jeans, black vests, white shirts) they sang the and Betsey Brock a proposal for June chairs, and other various things that from which all power arises: the power of old love song You Belong to Me, accompanying turning the Henry Art Gallery’s vacant Matt writes a planning document had been stashed in the shop. Matt personality, property, and organization. These themselves on guitar and melodica: “I know museum shop into “a laboratory for which includes a method for choosing installs a “coming soon” window I know / you belong / to somebody new / but ideas” for Seattle artists, where “a artists: “This method begins with a display with patterned fabric, will serve as guideposts in the discussion pool of Northwest artists (enriched small group of artists and expands cardboard mobiles, fur, illustrations below. tonight / you belong to me.” with visitors from elsewhere) outwards, balancing random and non- from Karl Rohnke’s Silver Bullets, a The paperback is Larry Townsend’s Artists are often asked to perform, to would be combined in a series of random networks, in an attempt to classic book on trust games and team classic guide to SM sex, The Leatherman’s sing for their supper, to be a “colorful” presence unexpected groupings...developing build an interesting and diverse group building, bread dough sculptures, Handbook II. Townsend’s approach to power at parties, receptions, and dinners. This short, fast, no-budget experimental of people who have not necessarily enlarged book covers, fake flowers, is simultaneously more pragmatic and more relationship to an audience, or to patrons, is exhibitions together.” worked closely together before.” colored clip lights. GY 7 very much like a romantic one; it rewards skill of conditioned power that creates desire. What in seduction, persuasion, and reassurance. is the relationship between artists, artwork Although it is common to think of these and an audience? I know I know played on the performances as separate from the creation desire to acquire art and artist both. of artwork—as “career” stuff, as opposed to “work”—Jenny and Joe’s exhibition suggests Personality II these might not be extricable. What binds together “career” and “work” is personality. The Gift Shop’s largest group (Gretchen Artists, like art objects, are valued by the Bennett, Leo Saul Berk, Ben Chickadel, Tyler force of their charisma, beauty, charm, and Cufley, Eric Fredericksen, and Joe Plummer) conviction. The romantic view of art depends created a loud and complex exhibition they on the idea that artists invest their work with called Work Song. “I understood it to be a the unique power of their personality. symposium on improvisation with a guest Galbraith identifies personality as the lecture by a bad-ass drummer,” was Leo’s first of three sources from which all power succinct summary. In Plato’s Symposium, originates. Anciently, and still in many seven drunken Athenians spend an evening situations, the power of personality meant debating the topic of love. Socrates declares “the ability to inflict punishment of a physical “Love is the son of Resource and Poverty.” nature on the recalcitrant or nonconformist.” By this he means love is unbalanced and September 23 This is the kind of power Jenny and Joe deceptive, because it never obtains what it Trashy splashy painting session. Jen- display in a second video, which showed them desires. However, love is also balanced and ny Heishman, Jenny Zwick, Joe Park, holding a variety of threatening poses while truthful, because desire is what motivates the and Matt make seven or eight paint- spinning slowly on turntables. They look like search for wisdom. ings together in a couple of hours video game characters, or merchandise on the The “bad-ass” Leo mentions is Joe on the Henry loading dock. Gretchen Home Shopping Network. However, this was Plummer, drummer for Modest Mouse and Bennett phones-in a description for a painting; Jason Hirata emails the a spoof; the power of personality in art rarely other well-known indie rock bands. Work September 15 following suggestion: “If anyone who takes the form of a physical threat directed Song turned the Gift Shop into something The Gift Shop is announced in the is able to make it would like to, could towards an audience. like a recording studio built around Joe’s Henry Fall newsletter: “Artist Mat- you do some of the following? On the Art is more closely associated with drum set. The group spent a day making and thew Offenbacher approached the back of one of the canvases in dark what Galbraith calls “conditioned power.” inhabiting the installation. There were colorful September Henry with a very basic question and paint write the word ‘JUNGLE’ in large Conditioned power is a method of winning sound-baffling panels, balancing sculptures Artist organizational meetings. statement ‘What is going on in the vertically elongated letters. Paint the bookstore? I have an idea for that upper right hand corner of another of submission by changing belief, by “persuasion, improvised from glass and wood shelves, clip September 2 space!’ What will happen over the the canvases red. Get a passerby to education, or the social commitment to what lights, Plexiglas cubes, sheet music, florescent Jennifer Mao joins the project as next few months is yet to be seen. paint a large diagonal line on one of seems natural, proper, or right.” When people bulbs, a Karaoke machine, corrugated documentation intern. She starts a Join us in the Museum Gift Shop to the canvases, then get another one speak of the power of art they most often fiberglass, and many other things. At one web site archive the following day: swim uncharted waters with Matthew to paint a line going in the opposite mean conditioned power. Seduction is a kind point, a sort of Socratic call and response http://gift-shop.tumblr.com/. and other local artists.” direction, forming an X.” 9 lesson took place between Joe at his set and artists, curators, and collectors. Are artists Eric at a practice pad. Everyone took pictures, fans or rock stars? filmed video, and recorded sound. Later in the week, an elaborate round-robin editing Property I process resulting in two looping videos and a soundtrack. Galbraith’s second source of power is property. The drumming in the Gift Shop was This is the power vested in any tangible audible throughout the museum, disrupting thing in which value accrues, along with the usual serenity of the galleries. This abstractions of tangible things such as money. move—undermining authority within a The possession of money, Galbraith writes, framework of authority—is often found when “gives access to the most commonplace exercise overt expressions of opposition are difficult, of power, which is the bending of the will of dangerous, or impolitic. Galbraith observes one person to another by straightforward that “the power originating in personality is purchase.” This “compensatory power” is ordinarily answered by strong personality.” what, for example, compels people to show up While symmetrical exchanges of power are day-after-day to a job they dislike. Property the rule, they are not inevitable. Asymmetric also provides access to conditioned power, power can be “a far less obvious but more by the prestige accorded wealth and the formidable tactic.” This is the mode of work ownership of things—and, indirectly, by the songs, which originated in African agricultural ability to purchase means of persuasion such music adapted by African Americans under as advertising. Art is a powerful form of slavery. The rhythms of call and response property because of the way it uses multiple synchronized workers, while, at the same time, instruments for exerting power. Acquiring the lyrics transmitted seditious ideas about art, or even being associated with it, increases freedom and resistance. This is rock music’s prestige. The monetary value of art is often September 24 heritage: regimentation and rebellion, balance susceptible to manipulation by exertions of Trashy splashy paintings are hung in and unbalance, compliancy and resistance. conditioned power. This makes the value of the Gift Shop for a wine and cheese “We gave love a bad name,” is how the artwork unusually contentious. event with the Henry Contemporary e-mail announcement for Work Song put it. This conflicted territory is what Claire Steering Committee. Sara and The love a fan feels for a star, or a student for Cowie, Jason Hirata, and Sol Hashemi took up Matt speak about the project. One a teacher, can become unbalanced. The craving with their exhibition The Gift Shop Presents: painting is subsequently given as a gift to a patron who inquired October 14 for love which drives some to amass personal Presents. They created a literal “gift shop,” about purchasing it. The remaining Tyler Cufley comes with his cargo October 16 power is often unfulfilled. Work Song was stocking the existing shelves and pedestals paintings are put in storage until van to help Matt, Owen Santos and Joe and Jenny Z. gather a team of a philosophical debate on love, art, and the of the museum store with enticingly wrapped they are dusted off and dressed in Eric Carson move the heavy retail artists to help them move Claude power of doubled speech. It brought to mind gifts, many of which were small works of art bows and ribbons for The Gift Shop counters out of the Gift Shop into Zervas’ canoe into the Gift Shop for the highly personal relationships between that they had made or solicited from friends. Presents: Presents. storage at the UW Tower. their installation. 11 An e-mail announcement explained: “During made artwork). When the opposite happened— the three weeks of the exhibition anyone when someone exchanged something valuable is invited to make a gift, bring it in, and to them for something they perceived as H[FKDQJHLWIRURQHWKH\ÀQG,QWKHVSLULWRI cheap or thoughtless—they were often hurt ‘white elephant’ and ‘secret Santa’ games, or angry. Conversely, when someone picked this encourages speculation, anticipation, out something they valued highly, they often H[FLWHPHQW RUGLVDSSRLQWPHQW" µ expressed joy. Some people were entirely There was a gift-wrapping station in unaffected; others just generally amused. one corner, and some scattered sculptural Some made multiple exchanges during the vignettes using ribbons, bows, and wrapping three weeks of the exhibition, others could paper. As gifts were opened, the exhibition never settle on a single gift. Some went to ÁRRUZDVOLWWHUHGZLWKGLVFDUGLQJZUDSSLQJV JUHDWHIIRUWWRÀQGRXWZKRWKHLUJLIWZDVIURP The effect was festive, celebratory, and others were greatly interested in knowing who strange. Usually, a gift exchange takes place acquired the gift they had left. ZLWKLQDGHÀQHGFRPPXQLW\³DIDPLO\D The Gift Shop proved to be an JURXSRIIULHQGVDQRIÀFH³ZKHUHDQRQ\PLW\ oxymoron. “Gift” and “shop” are part of two is balanced with a sense of responsibility. One incompatible systems of exchange. Are art way to understand Presents: Presents is as an objects more like merchandise, or more like attempt to explore the limits of community. gifts? The second part of the exhibition’s witty Presents: Presents was also a shop, but title, Presents: Presents, suggests why this with dramatically reversed conditions. Usually, question might be interesting. By juxtaposing where you shop is segregated from where the verb and the plural noun form of the same you make the transaction. This gives the word, it points to some confusion between impression, if not always the actual experience, actions and things. Which is the stronger RIHIÀFLHQWDQRQ\PRXVVWUDLJKWIRUZDUG foundation for a community? Or, as the November 6 purchase. In Presents: Presents, however, exhibition announcement put it: “What are you Claire Cowie, Sol Hashemi and Jason wrapped gifts provided unreliable information willing to give? What do you expect and hope Hirata send out a call to friends and about their contents. The means of exchange for in return?” family to help stock their installation were direct, indeterminate, and personal. with presents. “All gifts received by November 15 It was awkward. Some people declared that Property II Wed. Nov. 18th will become part of Betsey and Whitney Ford-Terry the gift was the wrapped bundle they could the initial installation. The exhibit will organize a Sunday afternoon “Sing- open on Friday, Nov. 20th, and the and-Play-Along”: “Join us in the see, regardless of what was inside. Others Debra Baxter, Margot Quan Knight and October 23 exchange of gifts will begin. Anyone Gift Shop for a final goodbye sing tried to game the system by bringing in what I put a large enamel sink in the center of Exhibition #1 opens during the who wants to participate in this com- along to I know, I know. Bring your WKH\SHUFHLYHGWREHORZYDOXHWKLQJV FKHDS the Gift Shop for our exhibition Moonlight Henry’s Fall Open House: ponent can make a gift, place it in the ukulele, harmonica, melodica, guitar, mass-produced items) to exchange for what Requisition. It was the round yellowish sort of I Know I Know Jenny and Joe gallery and, in exchange, choose one or acoustic whatever and sing along WKH\KRSHGWREHKLJKHUYDOXHWKLQJV KDQG FRPPXQDOVLQN\RXÀQGLQDVFKRRORUIDFWRU\ by Jenny Zwick and Joe Park. to take with them.” with us.” 13 bathroom, designed so that multiple people or lend it to you on the condition that you do can wash their hands at the same time. The something in exchange. sink came from a women’s bathroom in an old Artists often dream of utopian South Seattle factory building owned by the economies, of exchanges that don’t require U.S. General Services Administration. Deb the submission of one party or another, that had her studio there along with about forty wrest some measure of independence from other artists. For ten years, space had been the small portion of society which controls inexpensively leased to artists, thanks to an the greatest share of property. The Gift Shop unusual arrangement made by an art-loving was utopian in this sense. Money was firmly federal administrator. removed from the equation; no one received Deb, Margot and I “requisitioned” the payment. All labor was donated in-kind by the sink on the evening before the building was artists and the Henry staff, and all materials closed and demolished for redevelopment. We had to be scavenged, borrowed, or donated removed the foot pedal and hid a pump in the by individuals. As a result, The Gift Shop as base so that it took the form of a continuously a whole saw many “moonlight requisitions”: flowing fountain. We made a decorative floor overlooked things that were sought out, for it, using industrial tiles to form a quilt secured, and then taken during a moment pattern sent to us by Deb’s mom. The fountain when they would be least missed. created a serene atmosphere in the Gift Shop, This larcenous skill is exactly what with the subdued lighting, the sound of water many consider the most important contribution splashing, and the extra humid air. Although of artists to society. Artists create value by clearly identifiable as a bathroom fixture, finding and adopting under-utilized, forgotten, the rejiggered sink also suggested a public or hidden property. Then, by taking up fountain, like one you might stumble on in a residence in run-down parts of town, or in dusty European square and decide to throw unfashionable ideas, artists secure territory November 25 a few coins in for good luck, or drink from to for further colonization. However, artists are Shaw Osha and Heide Hinrichs send cure an ailment. not the ones who usually profit from this. Most out a call for contributions to The While money is one of the most artists have to patch together day jobs, grants Atlas of Gifted Ideas: “An atlas is November 27 important forms of property, anything and teaching gigs, visit free health care clinics, usually a collection of maps, charts “Black Friday Thanksgiving Left-Overs which can be given or lent to other people and scramble for space and time to work. This and tables, most commonly of the Potluck” organized by Claire, Jason, in exchange for their submission can be results in difficult ethical questions. Is theft a earth’s geography, but there are also and Sol: “Hello! We are having a little atlases of the solar system, moons get-together inside our art installation considered property. This includes a large reasonable response to scarcity? Who does this November 20 and planets and things further out. to celebrate the busiest shopping number of concrete and abstract things. The cycle of “requisitioning” serve? What about the Exhibition #2 opens: In the end, an atlas is a collection day of the year! Come for some instrument of power Galbraith most closely original owners of “found” property? The Gift Shop Presents: Presents of visual material and text on any food, some socializing, and some aligns with property is compensatory power. If Good luck coins did indeed accrue by Sol Hashemi, Jason Hirata and subject of interest. We are longing for art. It’s not too late to make a ‘gift’ to I have something you want or need, I can give in our fountain during the two weeks of Claire Cowie. an atlas of gifted ideas.” exchange in the gallery, too!” 15 the exhibition. “What moves water uphill?” The Atlas took the form of a collection of

from ruth yeomans Margot asked rhetorically while we were black and white drawings, images and to [email protected] standing around the hardware store, trying poems, e-mailed in by over forty artists from date Thu, Dec 24, 2009 at 6:06 PM to decide what pump we could afford. Just as around the world. The darkened Gift Shop Hello, and Christmas Eve Greetings to everyone! Moonlight Requisition expressed a longing first gave an impression of noise, heat, and

Upon going out of my house for my eve- for a communal, utopian artist community, light. This came from an array of projection ning walk, I discovered at the foot of it returned to The Gift Shop a specter of The devices (overhead, slide, and LCD computer) the little Christmas tree in my parking strip a small package guarded by a mag- Gift Shop’s most repressed other, that swirling, that threw the gifted ideas onto a variety nificent large python. My dog Lily and I were immediately seduced by the char- circulating, most elusive of elixirs: money. of surfaces. The walls, ceiling, existing ismatic python and took her into the house, where her wooden and bottlecap shelving grid, and fabric sheets were used as body quite quickly to come to life in Organization I improvised screens. Additional pictures and the warmth of the living room. She has already become a much loved member of poems were printed onto single sheets of letter- our household (see photos). I opened the small package and found 10 small Galbraith argues that the three sources size paper, placed on glass shelves, stuck to the beautiful items (see photo), obviously made with skill and care, whose purpose of power represent distinct stages in the cabinets and the floor, and—most strikingly— is unknown to me, other than simply to development of human culture. Our current pasted on several thin wood panels which December 4 exist as small beautiful items. Heide organizes a film screening and stage, he writes, is dominated by the power approximated the dimensions and posture of a In the package also was a note with a dramatic reading of Guy Debords’ The website, where I found a photo of a of organization. This is the power that arises slouching body. The panels were cantilevered Society of Spectacle. “The Gift Shop handsome chubby man, and a hand of an when “participants, in one degree or another, out from the walls, held under tension by a presents: Practice....This experiment unknown person placing these gifts by my tree. Many thanks to the mysteri- have submitted to the purposes of organization string at the top and a nail at the bottom. adds contemporary voices to the 1974 ous gift-giver(s) and I look forward to following the adventures of the Gift in pursuit of some common purpose, which They submitted to this tension by forming film The Society of the Spectacle, Shop Project!!!!!! relocating it to the present-day then normally involves the winning of the elegant curves. American West coast....In [Debord’s] Ruth and Lily submission of people or groups external to the Why do people submit? Individuals words, the film is an attempt to organization.” have a variety of desires, motivations, and use cinematic language to present In the call for submissions to their interests. What “burns your fingers” does revolutionary theory, ‘a critique of exhibition, The Atlas of Gifted Ideas, Heide not necessarily burn mine. When individuals all aspects of modern capitalism and of its general system of illusion.’ In Hinrichs and Shaw Osha contrast the roles of submit to a common purpose, they do so 1984, after the assassination of his two ancient Greek gods: provisionally, thoughtfully, unconsciously, publisher and producer of three of rashly, wholeheartedly, or any number of other his films, Debord withdrew all his Atlas is the brother of Prometheus. ways. Some might offer their submission as a films from circulation....We will add Prometheus plays with fire and Atlas has gift, without any expectation of compensation; one more layer, lending real voices to hold up the skies; he creates space others might submit because of what they to the missing subtitles, like an organ and separates the divine from everyday or piano once gave sound to silent experience; his duty is not to mix up expect or hope to receive in return. Oppressed films.” Readers include Gretchen December 18 December 24 things and to keep the overview. We would people are compelled to submit because of Bennett, Heide Hinrichs, Margot Quan Exhibition #3 opens: Claire, Sol, and Jason distribute the encourage you to play with both of them: explicit or implied retribution. Knight, Sara Krajewski, Philip Miner, The Atlas of Gifted Ideas remaining gifts from their exhibition to burn your fingers and to walk out The Atlas of Gifted Ideas echoed the towards the divine. Matt Offenbacher, Shaw Osha, and edited by Heide Hinrichs & Shaw by leaving them around town on final eccentric work of early twentieth-century Rebecca Cummins. Osha. randomly chosen doorsteps. 17 German art historian Aby Warburg. Warburg way to increase the persuasiveness of their created what he called a Mnemosyne-Atlas exhibition. Work which falls outside this circle, by gluing a wide variety of art reproductions, or which does not easily submit (because it is newspaper clippings, photographs and difficult, strange, or new), may be excluded. other printed matter onto large boards. Meanwhile, those who submit or have signaled The arrangements were not determined by a willingness to submit, but are not chosen, historical proximity, visual similarity, or can feel resentment, anger, or humiliation. style, but rather—as Martin Warnke writes The Atlas of Gifted Ideas grappled with these in a commentary on this work—“through difficulties, trying to find balance between relationships caused by an ‘affinity for one selectivity and affinity, or, as Heide and Shaw another’ and the principle of ‘good company’.” put it, between Atlas and Prometheus. How When Heide and Shaw invited a wide circle of can you create clarity and purpose—“not mix friends and colleagues to “please send us your things up”—while, at the same time, remain drawing, image or poem to pass on, to position, open to those who “play with fire”? to communicate, to travel and join” they were similarly organizing a space for affinity and Organization II good company. You submit because you like something or someone involved, or because The final Gift Shop group humorously framed you feel sympathetic towards the project. this question as the difference between dogs “Liking” is spontaneous and unpredictable, and cats. In the process of making their and so organization by affinity can result in exhibition Champagne Truffles, Jennifer diverse and surprising groups. On the other Campbell, Nicholas Nyland, Saya Moriyasu, hand, affinity can collapse into insularity. A Maki Tamura, and Ian Toms gathered an circle of friends may end up excluding opposing incredible amount of stuff from their homes: viewpoints. ceramic mushrooms, thrift-store paintings, Institutions often require artists to fine china, autographed celebrity photos, submit. Those who ask for submission are living-room furniture, tourist souvenirs, faced with difficult choices. On what basis lamps, thrift-store paintings, postcards, do you make judgments? In the process of patterned fabrics, Christmas lights, drawing, compiling their Atlas, Shaw and Heide decided magazines, watercolor paintings, letters, to exhibit only a subset of the submissions they broken plates, jewelry, stickers, raw wool, December 31 received. Most art exhibitions are organized Art Nouveau vases, photo albums, and so on. Debra Baxter, Margot Quan Knight, January 22 in this way. A curator makes selections from Hand-painted Chinoiserie wallpaper hung over and Matthew Offenbacher remove a Exhibition #4 opens: a field which is circumscribed by a group of the existing shelving to form false walls. These sink from the GSA building with the January 21, 2010 Moonlight Requisition friends and colleagues. They will then usually walls were then artfully perforated to reveal help of Leo Saul Berk, Claude Zervas, Betsey interviews Deb, live from her by Debra Baxter, Margot Quan Knight choose work they believe will bend in such a still-life arrangements. Even more stuff was and others. office. and Matthew Offenbacher 19 piled in the display case facing the Henry’s tastes of the larger organizations within lobby, which also displayed two video monitors which the institution is embedded. In the playing short loops of Maki and Jenn walking Henry’s case, this includes the University their dogs. Other videos played on monitors of Washington, various city, state, national, behind the wallpaper (swimming goldfish, and private funding sources, and a voluble cats), and yet another video was projected on international art community. These factors an entire wall. This video was a live feed from (and undoubtedly many others) must be a camera pointed at Saya’s backyard. In the continually synthesized to form the Henry’s center of the view was a wooden shelter Saya taste. In fact, one way to understand the and her partner Jeff McGrath built for a colony function of the Henry is to perform precisely of semi-feral cats. If you looked closely, you this work of synthesis; the Henry exists in would notice that the cat shelter was papered order to discover its own taste in art, and then with a scaled-down version of the wallpaper to exert this conditioned power in the form of featured in the Gift Shop. programming. Galbraith writes that “almost any How did Champagne Truffles seek manifestation of power will induce an opposite, to subvert the program? By a series of not necessarily equal, manifestation of power.” inversions: clean white walls were countered There is typically a symmetry between the with ripped wallpaper, meticulously manner in which power is extended and the displayed artworks were countered with manner with which it is resisted: “the usual messy accumulations, cool overhead lights and most effective response to an unwelcome with warm lamp-shades, critical thinking exercise of power is to build a countering with tender sentiment, circulation with position of power.” Champagne Truffles built “hanging out,” aristocracy with bourgeoisie, a counter position to some aspects of how conservation with deterioration, scarcity with the Henry extends its power. As Saya put it abundance, art with kitsch, experience with afterwards, “I felt like we played against the innocence, moral seriousness with frivolity. Henry ‘type’ of art. If there is a type?...It felt These reversals expressed a tendency towards very naughty to make that piece.” what Susan Sontag, in her essay on camp, Does the Henry have a type? Most identifies as tenderness. Tenderness is a artists can make a pretty good guess whether deep affection for people and their foibles, an a particular artwork would or would not emotion which “relishes, rather than judges, March 5 show up in a particular museum. The taste the little triumphs and awkward intensities Exhibition #5 opens during the of an institution reflects a dynamic range of of ‘character.’” This is the feeling of affinity Henry’s Spring Open House: factors: historical legacies, leaders’ individual that binds together a family, and makes it February 20 Work Song by Eric Fredericksen, Tyler March 11 predilections, appetites of different audiences. possible to create a home. Where do artists Work Song group records in the Gift Cufley, Ben Chickadel, Leo Saul Berk, Closing party for Work Song. D.W. Then, there are the fashions, interests, and feel at home? Jenn, Nicholas, Saya, Maki and Shop. Gretchen Bennett and Joe Plummer. Burnam and Joe Plummer perform. 21 Ian made themselves at home in the Henry in If it was a combination of luck, good timing, a profound way—in the same way, actually, and an unusual convergence of interests that a colony of semi-feral cats might make their made The Gift Shop possible, what lessons can home in someone’s backyard: provisionally, we draw? One answer I have tried to suggest messily, skeptically, gratefully. here is that the energy and pleasure The Gift Shop generated was, in part, the result of a A Fourth Power particular kind of relationship to power. The Gift Shop created safe space to explore power The Gift Shop exhibitions had many of the relationships between artists, an institution features of the kind of art I would like to see (and the people who make up that institution), more of. They were open-ended, idea-driven, and audiences. This sense of “betweeness” experimental, spontaneous, collaborative, was an important characteristic of The Gift provocative, joyful. They were sensitive to Shop. Much was left unresolved; questions the context in which they were made, paid led to more questions; participants expressed attention to their audiences, and tackled attitudes both resistant and complicit, but complex themes. always with attention to the pleasure to be I have been making lists of conditions found in the friction in between. which perhaps made this possible. On the This is what Townsend is talking side of the Henry, there was: 1) an awkwardly about in The Leatherman’s Handbook: “In life vacant space, 2) a difficult budgetary time, 3) we are frequently cast in our socioeconomic low morale, 4) a known artist as an organizer, states by forces beyond our control and end 5) a desire to program more local artists, 6) up behaving in the manner prescribed by a talented and supportive staff, and 7) an these circumstances. In the blackroom, we act inclination to lend the project a great deal of exactly the emotions, and attempt to fulfill autonomy. On the side of the artists, there the fantasies, that society will not permit us was: 1) a deep pool of local talent, 2) the safety to experience.” For “blackroom” substitute of shared authorship, 3) the challenges of “studio” or “gallery” or “museum,” and I no budget, 4) a rapid rate of production, 5) a think we are getting close to the ethos of The known artist as an organizer, 6) a prestigious Gift Shop. Pleasure is a goal, in the form venue with an interestingly liminal space, and of catharsis at the service of empathy and 7) a desire to build community, and to enjoy connection. Everyone should know themselves April 11 March 19 Champagne Truffles closes. relationships old and new. well, know what their kinks are, and be honest Exhibition #6 opens: The Gift Shop project ends. Many of these seem to be unsustainable about them. Good communication, mutual Champagne Truffles or serendipitous. Artists can not always work trust, and respect is essential. Everyone by Jennifer Campbell, Nicholas March 27 May 7 for free; the Henry does not usually have should be invested in the success of the scene; Nyland, Saya Moriyasu, Maki Tamura Champagne Truffles afternoon tea Matt and Jen Mao send out a empty space. This might seem discouraging. no single person’s ambition or needs should and Ian Toms. party. questionnaire to participating artists. 23 To: Betsey Brock To: Elizabeth Brown Studio and another one by Dawn Cerny in Date: May 18, 2010 Date: May 25, 2010 2008 I think. That is what I have been predominate. Your partner’s pleasure is more Notes Subject: a day after the debrief remembering the Henry has been showing as important than your own. Roles should be Hey lady, local artists. I will miss the meeting today about the Dear Liz, clearly delimited, well-defined—but also This is an exercise in what Claude Zervas has gift shop project because I have a virus The question was placed what would be our My wish would be that an organization called “retroactive conceptualization,” which is the sore throat thing. wish from the Henry regarding the artist like the Henry would understand itself flexible, and subject to renegotiation at any community in Seattle. I feel I should as well as an ambassador of that what is “retroactive application of a conceptual framework The main think I wanted to say is I loved write this down as I will be gone rather happening right here in this place. If an time. the project but I would say about 75% of soon and won’t have the chance to attend institution in a place is not thinking derived (post-creation) through a process of why I did it was because I love Matt and any other meeting. with and reacting towards the questions, There is an additional source of power contemplating the generative process....” These his vision. I wanted to be apart of and images and puzzles that are raised by support the community and his ideas I think what I wanted to say yesterday artists close by, who else will be doing which eludes Galbraith. Audre Lorde calls this interpretations of the six exhibitions are my own and didn’t finish somehow is this: I it ? Value and recognition as much as a The down side was that I felt conflicted, experience the Henry as an institution connection to and placement in a broader erotic power. “The erotic is a measure between idiosyncratic views of an intensely pluralistic project. I as I always do, to so much work unpaid. I that brings in a lot of great artists context has to be formed in the place the beginnings of our sense of self and the offer it with a deep sense of gratitude to everyone who was unemployed at the time of the project from elsewhere (mainly North America and itself. No-one from the outside will ever so it might have been an extra touchy Europe) with an remarkable level of qual- respond if this is not happening. chaos of our strongest feelings....It is not just a collaborated on and supported The Gift Shop, and in subject. I am continually trying to be a ity. I think there is no question about particular the brilliant participating artists. better business person as an artist and that. So you are acting as an agent to Local institutions play in this sense a question of what we do, but a question of how figure out how to be paid for my time bridge that: what is happening else- key role in artist’s careers. They often Works cited: John Kenneth Galbraith, ideas and efforts. where and locate it in this area of the give first shows to not-yet-further- or acutely and fully we can feel in the doing.” country, which is great. And then as you elsewhere- recognized artists. And in my The Anatomy of Power (Boston: Houghton Mifflin I feel like many of the models such as pointed out yesterday there are several view this can’t be underestimated in a This is power which comes from sharing any Company), 1983; Larry Townsend, The Leatherman’s galleries and institutions don’t work as levels of different experiences, duties, country where the commercialized and com- well as they used to. etc. involved. moditized field has such a stronghold. In pursuit deeply with another person, from Handbook II (New York: Carlyle Communications Ltd.), the realm of an institution an artist can 1989; Aby Warburg, Der Bilderatlas MNEMOSYNE, But I did love having the opportunity But all of this is happening without cre- have the freedom to act and think out- sharing “physical, psychic, or intellectual” joy, and was honored to work with Margot and ating almost any relationship to what is side of that demand and category, which edited by Martin Warnke, (Berlin: Akademie Verlag Matthew. happening artistically in town. That was I think is an integral part of artistic from love in all of its aspects. on one side the point I wanted to make growth. GmbH), 2003; Susan Sontag, “Notes on Camp”, Against I hope the Henry continues to come up when I made this remark about leaving Interpretation (New York: Farrar, Straus and Giroux), with ways to support local arts ... be- categories like local, national, inter- As much as an institution on all it’s cause we need it more then we ever have. national behind. I can recall in my mind levels is there for the general public, 1966; Audre Lorde, “Uses of the Erotic: The Erotic a show in November 2005 by Lead Pencil its patrons and I don’t know for whom as Power”, a paper delivered at the Fourth Berkshire Take Care, else—it should be there for the artists. Debra It would be wonderful if the Henry would Conference on the History of Women, Mount Holyoke take on parts of the duty and responsi- bility of being part of the community, College, August 25, 1978; reprinted in Sister Outsider and represent and communicate this as (Freedom, CA: The Crossing Press), 1984. well to the outside. A portion of this essay was originally published I know parts of this is probably evident, in “La Norda Specialo #7” (October, 2010) with the and in parts I don’t have to say this, but sometimes it might be good to say the support of a generous grant from 4Culture. known again.

Best, Heide

May 18 The Henry hosts a “de-brief” meeting for participating artists, the Henry June 10 curatorial team, and members of The Henry staff throw a celebratory the Henry staff: “The Henry wants party for Gift Shop participants on to consider ways to support future the loading dock, with hot dogs artist-driven projects. We’d love to and a picture cake. Remnants of the hear your ideas, and learn from you paintings from last September are about what we can do to sustain torn into rectangles by Matt and further collaborations.” given-away as souvenirs. 25 I know I know Jenny and Joe

JENNY ZWICK and JOE PARK at the Gift Shop, Henry Art Gallery

University of Washington, Seattle October 23rd - November 14th

OPENING Friday, October 23rd 6 - 11pm

I know I know Jenny and Joe 1. A Better Metaphor 2. Joe & Jenny In Claude’s Canoe 3. Singking 4. Not Quite (Sea) Level 5. A Merry Slide Straight Down 6. Doing Our Best With What We’ve Got: Fall 2009 7. But We’re Halfway ABOVE Water, Too 8. Jenny & Joe Stay In The Boat No Matter What 9. None Of Us Thought We’d Be Here, Exactly 10. Halfway Down Is Still Halfway Up 11. We’re All Screwed, But We’re All Screwed Together 12. The Lower We Get, The Louder We Sound screwed, but screwed together... or 12 the lower we get, the lower we get. 9. none, exactly i also like a merry slide. or j and j’s merry slide or j and1 j’s canoe ride 29 31 33 The Gift Shop Presents: Presents

SOL HASHEMI, JASON HIRATA and CLAIRE COWIE

OPENING Friday, November 20th 5 - 8 pm and continuing through December 13th

The Gift Shop at the Henry Art Gallery University of Washington, Seattle

Sol, Jason, and Claire are bringing gifts back to the Gift Shop! They’re stocking the Gift Shop with presents they have made together and individually, along with contributions from their friends. During the three weeks of the exhibition anyone is invited to make a gift, bring it in, and exchange it for one they find. In the spirit of “white elephant” and “secret santa” games, this encourages speculation, anticipation, excitement (or disappointment?)—challenging each of us to confront our desires and expectations. What are you willing to give? What do you expect and hope for in return? This project examines the celebratory aspect of making art and giving, the element of surprise in getting presents and in collaborating, and the potential for new relationships and dialogue within our community.

The exchange of gifts will begin during the opening party this Friday the 20th from 5 - 8 pm. Anyone who wants to participate can wrap a gift, place it in the gallery, and choose one to take home. The gift exchange will continue during the Henry’s regular gallery hours, Friday November 20th through Sunday December 13th. 2 35 37 39 The Atlas of Gifted Ideas

Opening this Friday, 7pm

The Gift Shop at the Henry Art Gallery University of Washington Seattle, Washington, USA

An atlas is usually a collection of maps, charts and tables, most commonly of the earth’s geography, but there are also atlases of the solar system, moons and planets and things further out. In the end, an atlas is a collection of visual material and text on any subject of interest. Atlas is the brother of Prometheus. Prometheus plays with fire and Atlas has to hold up the skies; he creates space and separates the divine from everyday experience; his duty is not to mix up things and to keep the overview. Our atlas consists of a selection of ideas, sent to us by people we know and others we don’t, from Seattle, Missoula and Berlin a.o.: poems, drawings, photographs, xeroxes and essays. We kindly invite you to visit this black and white constellation.

Damali Abrams, Gretchen Bennett, Buddy Bunting, Jennifer Combe, Kate Costello, Claire Cowie, Simona Denicolai & Ivo Provoost, Carola Deye, Dahlia Elsayed, Richard Gleaves, Michelle Hagewood, Elizabeth Haines, Alfred Harris, Jenny Heishman, Benno Hinkes, Naotaka Hiro, Allison Hrabluik, Barbora Klímová, Leora Lutz, Sid M. Duenas, Rebar Niemi, Melanie Noel, William Owen, Matthew Offenbacher, Vesna Pavlovic, Barak Reiser, Susan Robb, Rob Schlegel, Mary Simpson, Simpson/Meade, Steven Sewell, Max Suedhaus, Maki Tamura, Jo-ey Tang, Regina Weiß, and Julia Zay edited by Heide Hinrichs & Shaw Osha until Sunday, January 17th 3 41 43 45 Moonlight Requisition Debra Baxter, Margot Quan Knight, Matthew Offenbacher

Join us! Reception this Friday the 22nd, 6pm The Gift Shop at the The Henry Art Gallery Seattle, Washington, USA

1. Get a big sink from the GSA. 2. Paint a WPA-esque documentary-historical-heroic painting. 3. With homemade soap. 4. Anti-bacterial communal hand-washing station with homemade soap. 5. With a gum sculpture. 6. Home-made gum: http://www.wikihow.com/Make-Chewing-Gum. 7. Sculpt soaps out of alabaster. 8. Consider waterfall photography. 9. Frozen waterfalls. 10. Ice climbing. 11. Ansel Adams: http://www.anseladams.com/. 12. Gravity-fed rainwater collection system to run fountain using a large funnel on G.W.’s head and tubing and/or solar panel. 13. Fake roses, sticky nostalgia. 14. Make-out room. 15. Petrified pompeii people and dogs. 16. AIDS quilt: http://www.aidsquilt.org/. 17. Love vs. ardor. 18. Ardor, some definitions: a feeling of strong eagerness (usually in favor of a person or cause), intense feeling of love, feelings of great warmth and intensity. 19. Artifice vs. Sheep. Sheep are real. 20. No pretense to a significant event occurring. until February 14 4 47 49 51 53 Work Song

We gave love a bad name We made a screaming masterpiece Joe Plummer came up from Portland At some moments, everything was illuminated And it was loud

Joe Plummer Eric Fredericksen Tyler Cufley Ben Chickadel Leo Saul Berk Gretchen Bennett

March 4th - March 14th

Closing party Thursday March 11th 6:30 - 8:30pm

The Gift Shop The Henry Art Gallery Seattle, Washington, USA

5 55 57 59 61 Champagne Truffles

Jennifer Campbell Nicholas Nyland Saya Moriyasu Maki Tamura Ian Toms

The Gift Shop The Henry Art Gallery Seattle, Washington, USA

Now through April 11

Reception Saturday, March 27, 2 - 4 pm

6 63 65 67 69 Why did you agree to do this project? the loads of freedom. Good for the The Gift that Keeps on Giving Gretchen Bennett Henry / community relationship. Claire Sara Krajewski These things appealed to me: the ex- Leo Saul Berk perimental aspects, the use of transi- Simple. Whatever Matt O. wants, Matt Ben Chickadel tional institutional space, the commu- O. gets. Joe Park On April 21, 2009, Liz Brown (Henry Chief nity aspects, the possibility of alchemy Curator), Betsey Brock (Associate Director Claire Cowie between participants, the chance to Pure curiosity! I had never done a true of Communications and Outreach) and I un-name things and not worry about collaborative artwork before, and the received an e-mail from Matt Offenbacher: Heide Hinrichs given roles. Gretchen whole premise of this project sounded intriguing and exciting. Maki After finishing my last show, the Hi Liz, Sara, and Betsey. Saya Moriyasu I had an idea I wanted to run by you thought of doing something quickly The project appealed to me because three. Would you be willing to look at Joseph Park sounded really good. I liked the idea it involved both a form of installation the attached? Would love to discuss of hanging out with the people in my and interaction within the group and a further, if you are at all intrigued. Joe Plummer group. I thought it could be a good sense of interaction (and some actual Thanks! way of generating new ideas for my interaction) with the audience. All my best, Nicholas Nyland own work. Leo Joe Plummer Matt

Shaw Osha I liked that this was an self-directed It was a combination of factors: part Over the previous couple of years, we’d Maki Tamura infiltration into the institution, also that curiosity about something so open- come to know and appreciate Matt as a guy the Henry agreed to take over some ended, and I was excited to work with who made things happen in the Seattle risk. My hope was that this project Maki and Saya, both of whose work art community. An artist, a writer, a ‘zine SUR-would also start again some reason I respect and admire. Even though I May 2010 to meet, to dream, to play around, but wasn’t able to make it to the brain- publisher, a convener of group studio crits, was surprised how much everyone storming session, I responded to the and many other gatherings, Matt got people was just taking on the assignment. ideas that were floated around and together to work and talk; he possesses a Heide could see this being interesting and unique way of understanding how to create a fruitful. Nicholas sense of belonging that invests participants in I respected the artists working on the project and thought it would be a I was excited to participate with other the process and the outcomes. great opportunity and experience to artists and inhabit a particular place Upon opening the attachment (Matt’s try something different. Fun played a with its history. Shaw proposal for a temporary experimental major role too. I thought it might be a exhibition at the Henry) I was taken great time to “play” with some other How well did you know your collaborators immediately with the notion of injecting artists. Ben already? some of his energy into the museum. Matt

I wanted the opportunity to work with I knew all my collaborators pretty well. wrote about Seattle’s need for a “hot house, some of my collaborators. I didn’t Leo a catalyst, an incubator” for experimental, know the other collaborators yet, and collaborative, critical, even discursive ways of that was a draw too. Saya I had known three of my collaborators, making exhibitions. What Matt was proposing but I didn’t know two of them. I had al- was exactly what the Henry aspires to be. VEYSBecause Matt is so cool. Seriously. And ready talked about curating or working 71 together with one of my collaborators, The collaborative process was incred- pretty typical collaborative method. The Henry’s commitment to Northwest so this was a great opportunity. Saya ibly easy considering that the group Everyone brought something in the artists and openness to new methods and was composed of five artists whose end—materials, processes, equip- models made a perfect backdrop. Throughout Not at all—never met. Claire work looks very different from one ment, composition, etc. In the end, we another. I think it worked because trusted that there would be something our history, the Henry has championed I didn’t know two of my collaborators everyone was very open and consider- spontaneous that happened in the Gift artists, art, and the creative act; we at all—but it was such a pleasure to ate. I was also impressed that there Shop with everything and everyone commission new work, host “Open Studios” get to know them through this project. wasn’t really a dominant member of that we had gathered. Leo to bring our visitors closer to artists-at-work, I have known two of my collaborators the team—everyone was really able to and connect artists to each other through for a while, but it was the first time for set aside their own work and focus on We didn’t have conflict that I can think programs, social and academic alike. What us to work together. Maki what this piece needed. Which is why I of. I think that we really worked togeth- think the final work held together in a er and let things happen if someone excited me most about the project, however, Not very. Felt like I won the lottery consistent way. You could still pick out had the passion for it. That’s the cool was how it reflected these efforts but took when we got paired. Joe Park individual voices, but the whole work thing about collaborating in such a an entirely different route to getting there. blended those into something larger. short time span. We let more happen It would not involve curators, for one thing. I knew Maki and Saya before the proj- There was a mutual respect among the and it was a good thing. Saya Decisions were made collaboratively— ect, I was unfamiliar with Jennifer and group—we didn’t really have conflicts. authorship was by group. What we began to Ian. Nicholas (We didn’t really have time to fight!) I think we came rather early up with We talked about what the final result our idea. Then we struggled a lot with see unfold was certainly an alternative to This was the first thing we would do was that we were after, then we divid- how to integrate two or even more standard museum practices and it has made a together. Heide ed duties based on interest and ability. other people. We introduced each lasting impact on our own ways of working. The tight time frame really focused other to what we are doing, talked The formal gallery spaces of the A few I have known for over a decade the group to be problem-solvers (vs. about possible ideas. Heide Henry were not quite the right fit for this and others I had only recently met. problem makers!) and find practical activity but the recently vacated bookstore Ben ways to achieve the end effect we were We really had about five meetings in after. Nicholas person. I think we had a large group; had an appeal. It was in the museum, but We knew each other a little, but our we ended up with at least six collabo- not of the museum. It had always been a collaboration was opportune and fruit- How the collaborative process evolved rating artists with others that joined in pretty independent zone—initially run by ful in terms of building a deeper per- was really strange and unexpected. In on the day of the final performance. the University Book Store and then taken sonal and artistic relationship. Shaw a group e-mail exchange intended to E-mail was an interesting experience over by Peter Miller until 2009. During the generate ideas and coordinate sched- too. From initial meetings we would months of “The Gift Shop,” a welcome sense I have know one of the collaborator for ules for meeting, one person chimed start a wave of mails that would be years, but not been in touch. The rest I in that his piece for the show was a continuation of the ideas from the of otherness generated from this venue in our did not know before the project. already fully conceived and he was meeting that would eventually slow venue. It had its own flow—faster and looser Joe Plummer in the process of collecting neces- down and then another meeting than the Henry’s 3-6 month exhibition cycle— sary materials for fabrication. It was would happen. It was a roller coaster artist groups came and went, enlivening How did your collaborative process work? strange. It threw a bizarre wrench into at times. You might walk away from the lobby and introducing museum visitors Please be as specific as possible. (How did the platonic collaborative process. a meeting with an idea of what we to art experiences immediately upon entry. you generate ideas? How did you resolve But instead of fighting it, the rest of would be doing but somehow the conflicts? How did you decide who did us decided to go with it—to create a e-mails would deconstruct and com- The artists who participated took real what?) context for his pieces. We then met on pletely change the idea or vice-versa. risks by not presenting their own work but several occasions to work this out in I think this pushed a comfort level rather work together to try something new

73 with some artists, including me. Col- Once we had a meeting at the gallery ego more and more, in order to let the and unexpected. I really appreciated those laborating was never a strong char- space, it was so easy to synthesize whole work, and I saw the rest of the moments of going out on a limb, not always acteristic of mine. The mails seemed our ideas into something cohesive group doing this, as well. We divided achieved or allowed in a more traditional to resolve certain conflicts at times and feasible. The fact we had a large up on tasks most of the time. Our as people were able to process and number of people in the group, as well project involved a shoot and the foot- exhibition setting. The Henry staff also define certain aspects of the project. as the fact we didn’t have much time age was refined and the editing was felt the museum gain a new relevance and Each meeting added a new layer to the to prepare, worked in our favor. We got very enjoyable. It made me aware that presence in the Seattle art community. project, and it came more about what together one Saturday and worked all moving footage was more and more Truly the Gift Shop is the gift that could the individual bring that the day on making the wallpaper, the uni- of interest to me. Everyone seemed to keeps on giving! Because we loved the group might benefit from. That seems fying element of the installation. Then have their specific situation or tools or experimentation and the discourse around to be how it finalized: with each artist we volunteered to contribute what we disposition or knowledge or talent to bringing a piece or idea and then the can offer—things to display, technical contribute. During the meeting phase, this space, we’ve been seeking ways to performance was structured (or not) knowledge on web cams, etc. etc. I re- meeting and eating and chatting be- activate the now renovated lobby with to allow for those pieces to evolve, ally appreciated that everyone brought came important to the process. It was unusual or enticing programs. We have change, be subtracted, etc. One of the so much enthusiasm and positive important to stand back and appreci- named this space “Test Site” and it will final meetings was in the space which energy to this project. Needless to say, ate the contributions of each member, be devoted to more hybrid practices of art- added an element we had all talked there was no conflict or tension among although it was difficult to know at and exhibition-making collaboratively put about, but became a reality when we us. (I think!) Maki the time if this was going smoothly. began to use the “left-overs” in the Gretchen together across staff departments, not just space and its odd physicality/layout. My input and collaboration was limited by curators. It is a place that will be both I think that it was finalized when the by proximity and time, starting from e- We met over snacks at my house for display-oriented and discursive, “a practicum opening was over. Things changed and mail conversations discussing the goal the first meeting and brainstormed like in presence of mind” as my colleague Whitney performance happened as the open- and the potential of the project. When crazy. We had a few obvious things in Ford-Terry says about it (quoting Jan ing happened and it was a totally new I was present, we went right to work common. We all wanted to include a Verwoert). For my own curatorial practice, thing every time I went into the space (something I appreciate). The nature of lot of other people, and maybe even up to that time. Ben the project had us setting-up and film- non-artists, or non-traditional art- the Gift Shop has nudged me to think more ing right away. We discussed potential ists. Very inclusive. We wanted it to expansively, being open to exhibition models Simple. Whatever Jenny wants, Jenny aspects of the project while we worked be participatory, but not stressful or that are more fluid, less linear, collaborative, gets. Seriously, this exhibit was put to- on the set up and tested some of those something people had to commit to responsive, and organic. So for that I say, gether so fast that any idea generated ideas then and there. The conflicts ahead of time. We wanted something Thanks! by either of us had instant approval. were resolved with knives and fists where we couldn’t really predict the Joe Park (there were no conflicts). From my outcome or exert total control. We end, I feel like delegation came from wanted to have fun. We had a bunch The most helpful aspect of the pro- several people, and that seemed to of ideas. In the end, we came up with cess was the free-for-all brainstorming work. a way to keep it open, but still struc- session we had at the Café Presse. The Joe Plummer tured enough to have form and some brainstorming session generated nu- aesthetics. We never had conflicts. I merous pages of ideas, and we picked We met several times, allowing for think we all just decided (individually, I our favorites among them. We shared space between meetings, for things to think, but coincidentally) that it would an inclination toward a decadent, gel and relax. We added people into fall into place as needed, and we each quirky sensibility, an interest in kitschy the group organically, after the initial did what we wanted and could and material culture, and love for our pets. round. I found myself letting go of didn’t push each other. I personally

75 didn’t feel any individual ownership Loads. We made it all about gifts and made me feel like the show was a part On Generosity or responsibility over it, but that was a commerce (or lack thereof), exchange. of the Henry Art Gallery! Maki Elizabeth Brown big decisive step for me—to relinquish We wanted museum employees my micro-managing normal methods (many of whom are awesome artists), I think everyone liked the idea of loud and actually learn from others, accept museum-goers, students, etc. to partic- drumming in a museum. There was a There is something intrinsically generous a bit of chaos. Claire ipate, but we also wanted to bring new challenge to do something with that about contemporary art: the intent to bestow people to the museum. Claire space that would alter its dominant one’s energy, creativity, thoughts/hopes/ The initial back and forth of generating presence. Leo desires, and other deepest impulses onto ideas together happened easily: we We worked with the wood paneling, the production of something that offers new agreed on gifts of ideas from artists the shelves and display cases and the The shelf structure, the curved ceiling: and poets; I wanted a González-Torres vaulted ceiling. The idea of a gift shop the installation was just one answer to and unexpected experiences for unforeseen kind of generosity and exchange, was important to the project themati- these conditions. The shelf structure I viewers. Add to those demands (plunder your Heide came up with the atlas idea; we cally. We took it from a commercial think really triggered us to think about soul and heave it forth for whatever we want didn’t want artists to have to donate object shop to a space that seemed the idea of collecting. Heide to do to it!) the likelihood of at least some anything, etc. The gifted ideas in rela- empty of things but on further exami- antagonistic onlookers—for the tendency tion to each other and how we saw nation was a constellation of ideas. It I suspect, given the timing of the to fear and therefore violently repel the them together determined the direc- was important to have the Henry as a exhibit in conjunction with the uncer- tions the exhibition took. Shaw venue where the work would be seen tainty of museums’ futures in general, unknown seems to be universal as well as and considered but also have a lovely added a few extra degrees of tilt to the indelible—along with the ritualized hostility In what ways did the context of the Gift Shop opportunity in that same context canoe. Joe Park articulated against intellectual or creative (the former store fixings, the location in the where something could quickly materi- activity (the “art is a scam” theory), and you museum, the university, etc.) affect your alize without really high stakes. Shaw What are some of the ideas you liked, but have to wonder why so many artists persist project? never realized? in offering us the fruits of their labor. Despite The context of the shop directly af- We responded the shelving, the fected our decisions. We wanted to We originally thought we would accept another persistent popular belief, it’s not display window, the context of the mu- take advantage of the space’s loca- all submissions and would give cop- about the money. Whereas a teeny fraction seum but not so directly the university. tion in the entrance of the museum to ies of the ideas away, like fortunes, to of art makers succeed in the commercial The space informed our reaction and make something that was welcoming. visitors. The visitor wouldn’t choose market, the vast majority of creative workers we really used it to our advantage.... I We decided early on that we wanted what they wanted; rather, they would barely scrape by, patching together temp feel like we played against the Henry to transform the space into something randomly receive one of the copies as work and the odd adjunct teaching gig or “type” of art. If there is a type? It felt more comfortable and domestic, which a gift. But pulling together the show very naughty to make that piece. I like resulted in the idea of wallpaper. The demanded that decisions be made living bravely off the grid (read: hand-to- that most of it didn’t look like our work walls lined in shelves were then ideal about what worked and what didn’t mouth). When I try to summarize the impact but was so on the core our work. Saya for using as niches for smaller instal- formally and conceptually. We decided of Matt Offenbacher’s The Gift Shop at the lations that could be viewed through against showing every submission or Henry Art Gallery, the word, generosity, The existing furniture was gorgeous openings in the paper. Nicholas even giving them all away as we had dominates every aspect. The word “gift” is and we interacted and rearranged that originally planned. The unanticipated of course central to his project, literally as from the start. It was nice to have the The display shelves and the pre-exist- ethical question for me came with the construct of the Museum around us, ing fixtures inspired us to create the announcement for the project that well as figuratively. Offenbacher’s concept to knowing that we could be fluid and cabinet of curiosities! ... and the won- listed the names of those whose work turn the museum’s defunct book store into slightly outside of the larger structure derful Henry staff was there to assist was displayed. I felt that all of the work a dynamically rotating series of exhibitions of the Museum. Gretchen us during installation/de-installation. It informed the direction taken and that was from the start a play on words, although

77 some pieces were privileged but they We worked on an idea that involved I loved editing the video in my lab he may sincerely have believed that to have could not stand alone as independent using live microphones that picked at school. What a great time to see been the name of the space. When the new parts; authorship wasn’t the point and monitored the sounds and voices everyone in front of the screen editing Charles Gwathmey-designed Henry Art with the papers and projections. It in the room. The sounds would have about 16 hours of some really strange was really a collective project and also been treated with a delay effect. Time footage. We played a type of musi- Gallery and Faye G. Allen Center for the included, in a way, the work not used. and lack of equipment prevented us cal chairs with the video or exquisite Visual Arts opened in 1997, the museum’s Shaw from realizing that idea. In the final corpse; each rotating from chair to lobby prominently featured a retail space. project, I was slightly disappointed chair editing and re-editing what the From 1997 to 2008 visitors enjoyed browsing “First Person Lover”—a video game. that we were not able to achieve that, other person just did...finally getting the art and architecture tomes, posters, and I think Gretchen would remember the but was satisfied that we were able to the thing to a manageable size...just designed objects purveyed first by a branch of details. Leo work on and learn things about what funny to see the edits and choices it takes to do that type of thing. Joe made while we worked. I learned a lot the University Bookstore and subsequently We did have some ideas about piles Plummer too. Ben by an outpost of Peter Miller Books, but they of zoo-doo and growing mushrooms. purchased merchandise only sparingly and it Saya We were thinking loosely of Godot’s Leo Berk “played” a drill during the Before the Gift Shop. became clear to us that there was no way to film “Sympathy for the Devil” and we shooting, which ended up on the maintain a viable retail establishment in such We had more songs, but couldn’t also used “Deliverance,” in terms of sound track looping in the installation a small space. As the museum staff debated include them. We had grander ideas of the dueling banjos, as a beginning and presentation. Gretchen making a kung fu video but couldn’t point. But these ended up being ideas how to reprogram such a prominent location, get to it. Joe Park that only loosely defined our project, My favorite funny moments were Matt magically turned up with an ideal way in the end. Also, an initial e-mail from always a result of what Gretchen to make sense of the transition. His rejiggered The amazing thing is—I think we man- Eric F. describing how he’d like to learn thought she heard someone say. Leo shop would purvey new ideas, amusements, aged to cram pretty much everything to play the drums and exactly how and opportunities for a staggering number of we hoped to do in our project. Miracu- he would go about this shaped our Going through the submissions in local artists—each of those items a gift—and lous! Maki project quite a bit, as an anchor idea, printed form has been most enjoyable though we didn’t end up following it and forming an image, a vision for the one that the participants not only needed, but I really wanted a live cam in the shop, literally. Gretchen space from that. Heide received gratefully. and an internet feed. We did a little Generosity is a term that applies to photography and blogging to compen- We talked about painting the upper It was a series of funny moments that Matt Offenbacher’s art practice in general. I sate for that missing element. Claire walls or ceiling, building a loft area ended up inspiring the show. Everyday had personally been wowed by the show Matt over the entrance, floor coverings and Jenny and I met at the Henry, we no- “curated” for Howard House, Light Show We wanted to make a final printed a sofa, a huge bowl of zoo-poop with ticed that we had dressed similarly, T- magazine. Heide mushrooms! The discarded ideas were shirt and jeans one day, white collared for Unesco, a sweetly wacky convention of impractical either because we did not shirt, vest the next etc… Coincidence? sculptures by Seattle artists ranging from It’s funny, but I think most of the ideas have the time, money or permission We thought not. Joe Park Claudia Fitch to Jeffry Mitchell, united we had were used in some way. In- to execute them. This influenced the by a light mural in the candy colors we stead of just using one idea and going project insofar as we figured out ways Hmmm. We were so focused on get- have come to associate with Offenbacher’s with that, we used tons of the ideas to get what we wanted in the time and ting the project done that we didn’t works. The array of selected artists was and made that the one idea. I did like budget we had. Nicholas goof around. But I would say, the an iPhone app idea but who knows highlights are: watching the videos touching, for they were united mostly by how the hell we would have fit that in! What was the funniest moment in making of Saya’s cat colony for the first time, Matt’s enthusiasm for all of them; its homely Ben your project? Ian’s Wege getting high, and Nicho- execution was disarming and surprisingly

79 las’ noble walk with Daphne, and my Want people to take away from it? Yes. an offering and see what happened. effective. Similarly I am deeply impressed Gizmo’s starring role as a doggie in the A re-evaluation of how we value art, Gretchen by the assiduous effort and creative elegance buggy....At the tea party, seeing the objects, things we make and things of “La Especial Norte,” the art magazine reaction of people was really entertain- others make. A sense of having fun I think people who stuck with it may ing and rewarding. Elderly ladies were making things and enjoying giving and have gotten more out of the project Matt single-handedly edited and printed, captivated by the china display—there- getting. Claire than we did. Seeing groups of people recognizing Seattle’s profound need for more by confirming my theory that china is singing along to our video was crazy! discourse around contemporary art. a true grannie magnet. Maki The project appealed to people on a lot Joe Park Generosity dominates each aspect of of levels. The memory of a space and how The Gift Shop project unfolded, as the Definitely the day printing and paint- of time was there. The love of animals, I don’t know—the installation has been methods documented here attest. From my ing the wallpaper! Maki hosted the caring for objects, the past and nostal- very constraining; it would only unfold group at her studio and we started in gia. I think that people understood the if you spent really some time in there. perspective, one of the most remarkable the morning, and worked until 11pm. project. Which seems rare. Saya Heide outcomes is the way this generous spirit We took a few breaks though to walk permeated the six mini-exhibitions of the Gizmo and eat the delicious pizza Maki I think people did understand the I think people understood our proj- project, many of them explicitly about had made fresh for us! Nicholas project since it could be understood on ect. I wanted people to be amused sharing, giving, and creating happiness. many different levels. We didn’t really and entertained....I also hope that the After the Gift Shop. On the one hand the endeavor provided a Sorting through the submissions know what it was going to mean be- project showed how much we can do together and having the same icky fore we got to the gift shop. In the end corroboratively in such a short time number of things many artists need: a safe response (similar gauge) to things; (at the opening), I understood it to be and with a small budget, given a clear context for experimenting outside their making connections like the Michael a symposium on improvisation with a objective and a unique context to work accustomed working methods, opportunities Jackson pieces. Shaw guest lecture by a bad-ass drummer. It with. Maki for collaboration with both known and all started with a highly premeditated unfamiliar colleagues, the chance to gather I think actually seeing Maki walk her piece by E.F., centered on an improvis- I am not sure if people understood the and discuss art—lubricated at times by dog in the stroller and the two huge ing musician, and ended with some project, but I am sure that people en- boxes of toys for Gizmo. (Not in the quick sculptural sketches. I learned to joyed the project. I am not really sure selective refreshments. On the other, it filled show but at her house.) Saya trust myself in a new (or forgotten) what I want people to take away from many institutional needs as well, starting way. Leo this. I think the final presentation was with our desire to showcase more local art Running around town putting the left- dynamic enough for multiple interpre- experimentation. By making temporary over presents on people’s doorsteps A staging, a happening, a perfor- tations of what was going on. I always sense of an orphan space, The Gift Shop and ringing their doorbells and run- mance, humility, a gift, an effort. They want people to experience something helped museum stakeholders to begin to ning away. Tabitha came with us, and seemed to enjoy being in the project. I new, which is what they did. Joe Plum- we laughed a lot and took pictures. don’t think we wanted to control what mer envision the future of that space as a Test Claire they took away from it. I definitely felt Site, an area devoted to experimentation in like it was a kind of stage set. We set a I wanted people to feel a sense of alternate ways to bring together art, ideas, Playing music with people: both fun stage, and then activated it at different being in an incubator or conservatory and creative endeavors with a broad spectrum and funny, which it should be. Joe stages, to some extent, but never fully. of ephemeral ideas that could hardly of audiences. This was particularly needed— Plummer Joe Plummer, though he was clearly be captured and that one entered the and welcome—in the context of the largest and brilliantly playing the drums, held space to be cloistered there as well. Do you think people understood your project? himself in some restraint, to leave Shaw and most serious financial crisis we had What, ideally, did you want people to take things open-ended. I think all of the ever encountered, which seemed to threaten away from it? players, all of us, wanted to make Yes, I do. Our guiding themes were the very viability of art museums and other

81 decadent decay, precious moments, ‘by the seat of our pants’ excitement. Constraint? That’s the last word I would cultural institutions. And finally,The Gift pets and collectables. We wanted Joe Park have connected to the project. Leo Shop was a gift to me and my colleagues, people to feel like they’d entered an bringing a plucky can-do spirit back into the old house overrun by cats who have I do consider it a success. Not only It was challenging to get everyone scratched through the wallpaper. do I think we were able to pull off together, everyone was busy, but we center of our work process and surrounding Nicholas the transformation of the space from solved this, sort of, by just letting the our labor with the company of artists, a retail space to one of comfortable people who could do what they could whose presence and products make our jobs Do you consider it a success? Why or why domesticity, but at the opening, it was when they could. Gretchen worthwhile. not? like in “The Natural,” (“If you build it, they will come”), a group of old The involved communication into I am happy with the results. I felt quite ladies came and were enthralled! The thousand directions. Heide at odds at times, during the process, other part of the success is that I had naked. But I think that is interest- the chance to make work that I never Not knowing an instrument, solely ing and resulted in some new work. would on my own—and work with my constraint. I really am musically Gretchen some talented artists! Nicholas untalented and what a funny thing to be a part of when you feel that way. I Yes. I think we learned so much in this An emphatic YES. Because we each did not feel like I hindered the project process. I met new people, got back in gave 100% of our enthusiasm and or wasn’t a part of it but it would have contact with others and I think the out- happy energy to the project. It was a been fun to participate during more of come has been very pleasant. Heide play-time in the most positive sense. the performance part when it was time Maki for that. Ben I consider it a complete success. Good collaborative process and good Yes. It was a transformation of the Lack of money, lack of time, short results. The viewers could enjoy the space that was in keeping with the show. But that being said, it is also exhibit. Saya interior architecture and history. There what made it happen with a small bud- was a lot of room for interpretation get. So really I can’t complain. Saya Sure...maybe for us...maybe for the and a lot to discover. It may have been audience. Again fun was a goal and a little obtuse and hard for some to I wouldn’t say anything was annoying. I think we did that—at least I had fun, enter? Shaw A little more money or time or techni- and that seemed important, and I think cal ability might have meant the inter- that was apparent to the audience. I believe it was a success. We set out net feed, but it also might have meant Ben to achieve something as a group that a more stressful and less energetic and resulted in fairly cohesive collection of committed idea to begin with. Claire Yes. A lot of people participated. I ideas and activities for presentation. liked how it looked. We got a lot of Joe Plummer Time. I think if I had been able to be interesting feedback and met new more involved we could have honed people. Claire What was the most annoying constraint in and achieved some of my goals. Joe this situation? Plummer Yes. The time constraints of this proj- ect forced us to make decisions and The amazing thing is, we managed to Time. The staff at the Henry and Matt execute them in ways that reminded turn all the constraints to work for us, were super supportive and helpful. I me of my younger days. It was totally instead of against us. Maki felt unhampered by the institution or

83 the facility. Shaw Not give the impression that every- thing sent in would be included. Shaw Time and money. Nicholas Allow more time for set-up, be more The constant rain that occurred when- involved with the group and under- ever we were moving shit in and out of stand the final goal, collectively. I the Henry. Joe Park would involve more interaction from audience and have certain aspects What, if anything, would you do differently if change over the length of the project you were to do this again? via audience or group member ma- nipulation, voluntarily or involuntarily. Less doubt and worry, more joy. Heide Joe Plummer

Get better photo documentation. My I have no idea how to answer that pictures are a little blurry since no one except that it may have been interest- brought a tripod. Leo ing to have done more of what we did. Maybe another musician/“expert” Live internet feed/edited best-ofs from could be the next focus. It would be same. Claire interesting to see how things would change. Ben Nothing. I loved my experience. It happened perfectly for that project. I Add an ‘open’ for business neon sign would do it all the same. Saya outside the gift shop entrance. Joe Park The lack of budget encouraged us to go through our junk pile and see what Try to start with 0 ego. Gretchen we can use for free, (finally being able to justify holding onto all that stuff for years and years...) and the lack of time gave us a razor sharp focus to finish the project, instead of dragging on.....I would have collected a tiny sum of money for the project budget from ev- eryone in the beginning. Any leftover money could have been diverted to pay for food & drinks at the reception, etc. Maki

The only thing I can think of would be to figure out how the real-time webcam could have been streaming, instead of static. Nicholas

85 Image Captions & Credits 12 Jenny and Joe horse around. Photos by Dan Listed by page number, then from top to Dean. bottom, left to right.

14 2

a) People and their gifts at the opening of a) Pictures from Karl Rohnke, Silver Bullets Presents: Presents. Photos by Jennifer Mao. b) (Project Adventure, Inc., 1984). b) Diagram Gift wrap supplies. Photo by Sol Hashemi. c) describing the method for choosing artist Jason takes a nap. Photo by Sol Hashemi. groups. Beginning with four people (A-D), each d) Saya and Dan Webb. Photo by Joey Veltkamp. person invites two more. The resulting twelve (E-L) are randomly paired up, excluding any 16 of the first four from working together, or working with either of the two people they a) The Gift Shop Presents Practice. Poster by invited. The resulting six pairs invite at Heide Hinrichs. b) “For you!” Photo by Ruth least two more people to join them (M-X), Yeomans. c-e) Claire, Sol, and Jason play plus any number additional that they require Santa Claus. Photos by Sol Hashemi. for their project (Y-). Drawing by Matthew Offenbacher. 18 6 a-b) Inside the fountain. Photos by Jennifer Nemhauser. c) Leo helps Margot take the sink Working on the “coming soon” windows. Photos from the GSA women’s bathroom. Photo by Debra by Jennifer Mao. Baxter. d) Margot, Matt, and Debra with their fountain. Photographer unknown. e) Betsey 8 interviews Debra. Still from a video by Betsey Brock. Joe Park, Matt, Jenny Zwick, and Jenny Heishman make paintings on the loading dock. 20 Photos by Jenny Heishman.

a-d) Joe Plummer, Gretchen, Leo, Ben, Tyler, 10 and Eric at work. Photos by Jennifer Mao. e) Joe rocks out. Photo by Leo Saul Berk. f-g) a, b) Henry Contemporary Steering Committee Work Song installation views. Photos by Sylvia wine and cheese event. Photos by Jennifer Wolf. Mao. c) Joe and Maki contemplate Claude’s canoe. Photo by Gretchen Bennett.

87 22 36-37 62 77 a-e) Maki cuts the wallpaper. Jenn rolls Installation views. Photos by Sol Hashemi. Live video feed still showing the cat colony a) Coins in the fountain. Photo by Debra it out. Later, at the tea party. Photos by in Saya and Jeff’s backyard. Video by Jennifer Baxter. b) Jason delivers a gift. Photo by Sol Saya Moriyasu. f) Maki’s pet cake. Photo by 38-39 Campbell, Nicholas Nyland, Saya Moriyasu, Maki Hashemi. Nicholas Nyland. Tamura, and Ian Toms. At the end of the exhibition. Photos by Sol 79 24 Hashemi. 64 a) The Henry bookstore before going out a) Photo cake at the Henry’s thank-you B.B.Q. 40-45 Installation view. Photos by Saya Moriyasu. of business. Photographer unknown. b) D.W. Photo by Saya Moriyasu. b) Souvenir flags. Burnam at Work Song. Photo by Gretchen Photo by Matthew Offenbacher. Installation views. Photos by Heide Hinrichs. 65 Bennett.

26 46 Pet pictures and meringue mushrooms decorate 81 Maki’s cake at the tea party. Photo by Saya Jenny kicks, Joe sits. Detail from a photo by Margot mapping the floor tiles. Photo by Moriyasu. a) The first Test Site project in the former Jason Hirata. Debra Baxter. Gift Shop space: “Shelf Life,” organized by 66–69 Jayme Yen, Whitney Ford-Terry, Betsey Brock, 28-30 48-51 and Rachael Faust. Photo by Jayme Yen. b) Installation views. Photos by Saya Moriyasu. Conversation in the Atlas. Photo by Shaw Osha. Installation views. Photos by Jenny Zwick. Installation views. Photos by Debra Baxter. 71 83 31 52-53 a) Announcing The Gift Shop in the Henry’s a) Nicholas made cookies for the tea party. Still from I know I know. Video by Jenny Margot budgeting. Photo by Debra Baxter. newsletter. Illustration by Matthew Photo by Saya Moriyasu. b) Gretchen dancing. Zwick and Joseph Park. Offenbacher. b) Eric and Betsey. Photo by Photo by Jennifer Mao. 54 Jennifer Mao. 32-33 Joe Plummer in a video projection. Detail 73 Four stills from Rotational Action Powered from a photo by Gretchen Bennett. Preamble. Video by Joseph Park and Jenny a) Spotted while delivering gifts. Photo Zwick. 56 by Sol Hashemi. b) Detail of the Champagne Truffles display case. Photo by Saya Moriyasu. 34 Installation view. Photo by Leo Saul Berk. 75 Tabitha with gifts. Detail from a photo by 57-61 Claire Cowie. Ian and Jenn hang wallpaper. Photo by Saya Installation views. Photos by Gretchen Moriyasu. Bennett.

89 Acknowledgments The Gift Shop First edition, 2011

Thanks to Deb Baxter, Leo Berk, D.W. April 2009 - June 2010 All content © the contributors Burnam, Jenn Campbell, Ben Chickadel, © Henry Art Gallery A special project for the Henry Art Gallery Claire Cowie, Rebecca Cummins, Tyler ISBN: 9781935662730 Cufley, Eric Fredericksen, Sol Hashemi, Organized by Matthew Offenbacher Jason Hirata, Margot Quan Knight, Jen Editor: Matthew Offenbacher Mao, Philip Miner, Jeffry Mitchell, Saya Featuring Debra Baxter, Gretchen Bennett, Texts: Matthew Offenbacher, Moriyasu, Nicholas Nyland, Shaw Osha, Joe Leo Saul Berk, Jennifer Campbell, Ben Sarah Krajewski, Elizabeth Brown Park, Joe Plummer, Maki Tamura, Ian Toms, Chickadel, Claire Cowie, Tyler Cutfly, Eric Design: David Knowles with Jayme Yen Claude Zervas, Jenny Zwick and the many Fredrickson, Sol Hashemi, Heide Hinrichs, Copy Editing: Hannah Hong other artists who graciously gave their time, Jason Hirata, Margot Quan Knight, Saya Color Printing: Norda Press energy, and vision to this project. You are Moriyasu, Nicholas Nyland, Shaw Osha, Printed and Bound by Publication Studio my inspiration. Thank you Liz Brown, Sara Joseph Park, Joe Plummer, Maki Tamura, Krajewski, and Betsey Brock for taking a risk Ian Toms, and Jenny Zwick. and making this project happen. Thank you Henry Art Gallery also Paul Cabarga, Owen Santos, Eric Carson Faye G. Allen Center for the Visual Arts 15th Avenue NE and NE 41st Street and the rest of the Henry staff. All of you Box 351410 made working at the museum a joy. Thanks Seattle, WA 98195 to Sylvia Wolf, the Henry board, and all of www.henryart.org the Henry’s patrons, for your enthusiastic reception of each stage of the project. Thank Publication Studio you David Knowles, Jayme Yen, and Hannah 717 SW Ankeny Hong, for creating this lovely catalog. Thanks Portland, OR 97205 to Artist Trust and Sean O’Connell of the Witt www.publicationstudio.biz Company, who made it possible to print color pages. Thank you Jennifer Nemhauser, for too many things to list here. Finally, thank you Gretchen Bennett, Jenny Heishman, and Heide Hinrichs. Without the Second Peeps I would never have tried to do this.