Dinosaur Jr., Raisins
The Roots, The Next Movement, 1999
For the second year in a row Chris Johanson is putting on the Quiet Music Festival of Portland, “a two day celebration of quiet music as well as the act of quiet listening.” Taking place at 8pm on both June 15th and 16th at Disjecta Interdisciplinary Art Center (8371 N Interstate Avenue / Portland Oregon 97217) the mood set by performances from Dan Sasaki, Grouper, Kevin Thomson, Carolyn Pennypacker Riggs, Sam Coomes, Scout Niblett, Sonny Smith, Strawberry Smog, The Lichens, Ural Thomas, and Vetiverrelaxing, will be mellow.
To celebrate the festival, we’ve got a couple posters signed by Chris to give away. To win one, just leave a link to an image your favorite quiet, relaxing place in the comments section. We’ll pick our favorites, and that’ll be that. Unfortunately, due to shipping this is only for US folks.
And finally, for those in Portland tonight (6/14) be sure to hit up Barry McGee & Chris Johanson’s ‘And Your Friends Are My Friends’ Board Release Party and Silent Art Auction.
Necro’s cult classic “I Need Drugs”. Shot “in a crack hotel on Coney Island Ave. in Brooklyn, NY.”
Here is what you’re missing. Open through Sunday 6/17) at the Park Avenue Armory.
From the DVD commentary of Season 1, episode 10:
“The last head on the left is George Bush. George Bush’s head appears in a couple of beheading scenes. It’s not a choice, it’s not a political statement. We just had to use whatever head we had around.”
Leica made this.
Eating and reviewing McDonald’s Breakfast way back in 1984.
A classic series of photographs by Don Hamerman.
“I began collecting these baseballs in the winter of 2004-2005. Discovered in the park near my house where I walk my dog daily, they went unnoticed by others. Abject, rejected and forlorn, their state depended on the season of their discovery. Some hid in the high grass, gutted by lawnmowers, or under leaves, rotting—the leather skins long since decomposed. Covered in ice crystals on a February morning or shrouded in summer moss, they all hinted at mysterious pasts.
Although I knew that one day I would photograph the burgeoning collection, most sat along a shelf in my studio for nearly a year before the exploration started. At last, I decided to photograph them above a flat field and with deep depth of focus, revealing, as much as I could, their distinct resumes.”