Paper & Carriage No. 2 Release Party On Friday May 2nd, ThreeWalls and The Green Lantern Press are proud to announce the release of the second issue of "Paper & Carriage" featuring the writing of Colin Beattie, Dora Ishida, Erin Englebright, Britton Bertrand, Alex Javonovich and Moshe Zvi Marvit, with a curated centerfold by Deb Sokolow, screenprinted covers by Shawn Stuckey and the second installment of Lili Carré's "HUMS" series. This event, hosted by The Green Lantern Gallery, with live readings, will begin at 8pm with live music to follow by The Singleman Affair at 10pm. FREE Paper&Carriage no's 1& 2 will be available for $15 each on the evening of this event. Otherwise the cover price is $18.

The Singleman Affair is pleased to return to The Green Lantern! The Singleman Affair is Dan Schneider,a one-man Jandek at war with himself trying to create iconic,timeless,classic songs.A short time spent in the company of 'Lets Kill The Summer'will find the listener indoctrinated into the grooves of dusty old 7"s,peppered with references to the Byrds,Scott Walker,Ananda Shankar,Leonard Cohen,Fred Neil and less known cult artists such as McDonald and Giles and Christine Harwood.'Let's Kill The Summer'is esoteric,atmospheric.Schneider has set out with some home recordings to make extraordinary songs that seem to exist in their own place & time,sitting comfortably today,perhaps,along-side the likes of Devendra Banhart and Animal Collective.Using the same recording techniques as his hero Skip Spence,The Singleman Affair have used old reverb units and spacious room mic's to give each song a haunt-ing,expansive feel,not to mention a disorientating,evocative soundtrack for the 21st century. "A luminous psych folk delight [that] sounds like it might have been recorded in 1968." Time OutChicago www.cardboardsangria.com/bio.html

There is an ancient desire to imbue history with meaning, to create associative landmarks that map out one's psychic geography. Through the idiosyncratic collection of objects, one can feel constellations of meaning, plotted out with old things one dare not throw away. To keep these things is preserve the sentiments of the past, a dyke against the erosion of memory--for in the absence of memory there is a fear that something might as well have never happened. Yet also, it these same symbols of history, bundles and bags of leaves from seasons passed, taking up space in various closets, underneath beds, on bookshelves or in boxes in attics, that create a sense of restlessness. They mediate new instants such that it sometimes feels impossible to escape oneself. Or even, to experience a self without Heirlooms. In "Restless," Shannon Stratton displays an odd and random assortment of other people's trappings, whether they are guilty accumulations of plastic inhalers, kotex sleeves, bottles filled with earth, extensive assortments of yarn, old buttons or bottle corks. In the landscape of these objects it is difficult to achieve the core of the installation: a repetitive and yodeling mantra.Shannon Stratton worked for a few years as both a free-lance and chain-store employed display technician before attending art school to earn a BFA, MFA and then an MAAH. She made art, started a not-for-profit, curated some stuff, wrote some stuff, taught some stuff, gave a few talks, collaborated on doing-things. In unpacking her own crowded closet, and perhaps as a nod to her own interminable restlessness, Stratton has returned to her roots and is admitting to, or coming to terms with, her deep desire to arrange things for others.In conjunction with the show, a limited edition DIY publication, edited by Chaz Reetz-Laiolo, will be available with work by: David Snyder, Peter Orner, Julio, Benjamin Spencer, Sarah Levine, Lauren Pretner and Chaz Reetz-Laiolo.

th floor of the Merchandise Mart, located at 222 Merchandise Mart Plaza, Chicago, IL 60654

Thursday, April 24 — Preview Opening
Friday, April 25 — 11:00 am – 7:00 pm
Saturday, April 26 — 11:00 am – 7:00 pm
Sunday, April 27 — 11:00 am – 6:00 pm
Monday, April 28 — 11:00 am – 4:00 pm

Goffo, a special section at NEXT, focusing on multiples, editions,
artist books, prints and handmade objects, will host an exceptional
curated selection of presses, artist collectives and small galleries.
For more information visit: www.nextartfair.com/goffo

As part of Green Lantern's 2007/2008 programming, examining and implementing the process of rebirth, Meredith Kooi and La espacia, will install the three day event, "CALL TO ARMS." Interactive installations and performance facilitate new experiences within individual members of the audience. Kooi reveals her step-by-step plan of undoing the self as part of a larger call to deconstruct and rebuild the dominant social paradigm. Free currency give-away supplied by La Espacia. ZInes, books and other sundries will also be available.

Viaduct Theater • 3111 N. Western

(Hours: 1pm to 3am (2am on sunday)
$8 ($10 for 2-day pass)

For more information, visit:
Version Festival www.versionfest.org
Version Myspace www.myspace.com/versionfest
Version Youtube www.youtube.com/versionfest

Amina Cain is the author of I Go To Some Hollow, a collection of short stories that will be published by Les Figues Press in January of 2009. Her work has appeared in journals such as 3rd Bed, Denver Quarterly, Spinning Jenny, the2ndhand, Sidebrow, and LaPetite Zine, and is forthcoming in the second volume (F-K) of the Encylopedia Project, as well as in the anthology Wreckage of ReasonL Contemporary XXperimental Prose by Women Writers. She co-curates, along with Jennifer Karmin, the Red Rover reading series, and teaches in the English Department at Columbia College.

check out www.theparlorreads.com for more info.

On April 16th 2008 at 7:00 the Green Lantern Press is proud to announce the release of its next original book by A.E. Simns, "Lust & Cashmere." A reading will be performed by Liz Hood, Basia Kapolka,
Shannon Stratton, Dallas and Caroline Picard at 7:30 with live music to follow from Leisure Class Records artists Liz Isenberg and Mandarin Dynasty at 9pm. (www.myspacecom/leisure classrecords) (www.myspace.com/lizisenberg) (www.mandarindynasty.net/)
Show is FREE BYOB

Lust & Cashmere is printed in a limited edition of 500 with silk
screened covers by Alana Bailey and a mini-edition of mini sweaters
sewn by hand by Kellie Porter of Cape Cod. Available for $20

Images

3-Night Festival Incorporating Art, Music, and Film….all for FREE

Taking a cue from our current President of the United States, Hewhocorrupts Incorporated has unveiled plans for a regional stimulus package for all punk, metal, and hardcore consumers in the city of Chicago.  The stimulus package includes two full nights of shows; one night of DIY films, spoken word, and juggling; along with an assortment of records and zines...all for the cost of FREE. 

"Our punk rock consumers in the city of Chicago are at their wits end" according to Tommy Camaro, head of Chicago based corporation Hewhocorrupts Incorporated.  "They can not pay for their back patches, ear piercings, skate boards, or punk rock music.  They cannot go to shows because it cuts from their beer money.  Our local punk rock community has been torn apart, we want to bring it together" charged Camaro, shortly before firing his secretary and unleashing his dogs on the company's CFO, who spent 12 minutes in the bathroom instead of the company allotted 5 minutes.

The package, entitled “Stimulus Festivus”, will take place in Chicago from Thursday, March 13th to Saturday, March 15th.  The first two nights will be held at the Green Lantern, a beckoning art space in the heart of Wicker Park (or as Camaro likes to call it, 'angular hair land').  The visual and aesthetic elements of the Green Lantern will shine throughout these two days, all due to the two-person painting show by Ben and Andy Kehoe entitled, "The Safest Place in the World".  The final night, in addition to the “Write-Off Record & Zine Fair” will be held at People Projects, an artistic haven located kittie-corner to the Congress Theatre on Milwaukee Avenue.

Thursday, March 13th : The Green Lantern |8 PM | FREE  Hewhocorrupts Inc Film Night, Ryan Durkin (spoken word), Bradley Adita (juggler)

Friday, March 14th : The Green Lantern |8 PM | FREE Hewhocorrupts, Plague Bringer, (Lone) Wolf & Cub, Parsley Flakes  

Saturday, March 15th : People’s Projects 2129 N. Milwaukee |7 PM | FREE Rager (Record Release), Altered Beast (Final Show) + Band 1 + Band 2 + Band 3

Info for the Write-Off Record & Zine Fair:

Saturday, March 15th1 – 5 PM; $3

  People’s Projects
2129 N. Milwaukee
: A wide assortment of Chicago punk labels and zines will be setting up for 4 hours only giving away all they have brought for FREE!!! That's right...the premise of this is after you pay the $3 entrance fee you get free records and zines...no one can sell ANYTHING!!! Everyone wins - you get free records and zines – and the labels and zines get to do some Spring cleaning!!!

A Live Reading

After working for many years on stage and screen, Ben Tanzer now lives in Chicago where he tends to his vineyards, shoots pool, dabbles in social work, compulsively watches High Shool Musical 2, and spends all sorts of quality time with his lovely wife and young sons. Ben is a staff writer for Wonka Vision magazine and has had work published in a variety of other magzines and journals including Opium, THE2NDHAND, Monkey Bicycle, The Truth Magazine, Theives Jargon, decomP, Cake Train, Chicago Parent, Abroad View, Zygote in my Coffee, RAGAD, and 20dissidents. He also once regularly published work in several excellent, though now defunct magazines, including Punk Planet and Clamor, though he doesn't feel remotely responsible for their demise.

check out : www.theparlorreads.com for more information, or, to download a podcast of the reading!

A nerd pursues a single subject, or a variety of subjects, until expertise is gained in each one, and he or she can irritate you with useless information about it. A geek, though overly intellectual, usually acts cool enough to accumulate a variety of interesting (or stoner) friends. A geek was always in band in high school. For more information visit:academyrecords.org

If you were the last one on earth the world would feel like an island. There would be no human sound except your sound and that sound would probably scare you a little, make you feel a little vulnerable, because you’d feel like the silence was overbearing. It might feel hostile, like a greater force that was listening. It happens in movies sometimes. It happens in the Twilight Zone, it happens in boarding school nightmares: the idea of being the only person left on the world where everyone else has vanished without a trace of violence. The sense of uselessness would encompass you, and swallow you up. Ideas would be your only company, become your best friends and take on a proportion that was larger than life. It is quite possible that you would go wild, lose any connection with language, forget the distinction of subject and object..

New York sound artist Peter Speer and Chicago native Doug Shaeffer come together in a presentation of their wares. Book covers become diaries in shorthand, while miniature diagrams implicate the source of sound. Both the novel and the noise are absent, however. The materials used in this show are removed from their intended purpose, implicated original sources just as they transcend them and growing into independent art objects that map out a particular recollection. These are maps, useless, cryptic and obsessive that have been converted into notepads for shorthand.

In the meantime... Philip vonZweck Anne Elizabeth Moore Colonial Recordings, USA

and some images from Pete and Doug

List of filmmakers includes:

Meg Duguid, JC Steinbrunner, Joe Craig, Jennifer Wilkey, Nicholas Hayes, Sue Havens, Micki Tschur, Dani Leventhal, Kate Sheehy, Danielle Paz

This SpiderBug Kickoff screening is an unthemed self-introduction to the Chicago homegrown/alternative film scene. SpiderBug screenings are being planned as an exploratory platform for film/video exhibitions in a variety of spaces and situations, and aim to be casual, unusual and fun.

The SpiderBug Kickoff screening features a wide variety of short films from filmmakers from the United States. The program includes films that are lighthearted, thoughtful, and unusual in subject material. Included in the SpiderBug kickoff screening will be a few surprise shorts from established filmmakers that stir the imagination.

Beer & Popcorn will be served

AREA Chicago will host its first annual WANTS and NEEDS Benefit Party on Saturday, December 8, 2007 at Green Lantern Gallery, 1511 N Milwaukee Ave., 2nd Floor. Pease note this is not an ADA accessible venue. 8 pm til late; $10-$20 (sliding scale) before 10 pm. $20 thereafter for Dance Party with DJs Naomi Walker, Kim Soss and Charlie Vinz! Admission includes homemade goods and one free drink.

At 10 pm, the hilarious AREA contributor Micah Maidenberg will emcee a Live "Wants-and-Needs" Auction of Skill and Resource Sharing donated by AREA friends, contributors and advisors. Bids for the Service and Skill Sharing Auction will start as low as $5. A Social Justice Sing-A-Long by AREA Editor Daniel Tucker will follow the Auction.

This is a current list of auction services (and their contributors):

Three photoshop/illustrator tutorial workshops (Dave Pabellion); volleyball coaching (Dave Pabellion); Tres Leches Cake plus tea service (Vanessa Roanhorse); Singing Telegram with banjo accompaniment (Charlie Vinz); refurbished Pentium 3 computer (Dave Marques); Blog creatiion plus fancy graphics header (Dave Marques); Oral 'history' collection plus knitting basics and lunch (Cassie Fennell); Self-Guided Tour from Location of Choice to Parking Lot of Choice plus map and instructions (Ryan Giffis); Bicycle Tune-Up and Mechanic Lesson plus special bike beer (Sarah Miller); Hand-sewn Pillow with the embroidered design of your dreams (Rachel Wallis); Audiotape and editing education services (Aaron Sarver); Edition of Hand Set, Letterpress printed event Posters (Dan Wang): Qi Gong Sessions (Ryan Hollon); Typographic Design and Hand Printing on choice "correspondence stock" (Dakota Brown); Editing and Translating services (Leticia Cortez); Swimming lessons courtesy of YMCA membership (KristenCox); Starter kit for the Web 2.0 participatory corporate internet (Daniel Tucker); Theraputic body work session (Kate Sheehy); Video documentation, editing and 3 copies of event plus interviews of your choice (Laura Klein); Historical tour of Chicago's Haymarket monuments (Nicolas Lampert).

AREA Chicago is a publication and event series dedicated to networking and researching local art, education and activist work. In its first two years, AREA Chicago has published five magazine issues and organized 40 events. AREA Chicago is dedicated to gathering and sharing information, history and analysis about local social and cultural movements. Through this very practice, it seeks to create an independent network for organizations and individuals committed to radical social transformation within the city.

Proceeds from AREA's WANTS and NEEDS Party will benefit AREA's sixth issue. This issue will document the local economic justice issues and create a "How to easily understand the last 30 years of public policy toolkit for local activists". This issue will be published in Spring 2008.

For more information, visit www.areachicago.com

Within tradition there are internal and external perceptions. A mind expounds externally, while entertaining a private life in the imagination. Nicholas Kashian depicts external life in large scale paintings of domestic rituals. Familial scenes, appropriated from found vintage slides and re-described through the window of voyeurism create an experience of distance for the viewer, reminiscent perhaps of the adolescent spending a holiday within the nuclear family. Nostalgic representations deteriorate into ghostly and incomplete phantoms. In order to further the sense of personal iscolation, Kashain simultaneously exhibits another satellite body of work, mapping a psychological interior. Personal perceptions become allegorical describing an inner preoccupation.

Images

Opening Friday, 10.12 from 7:00pm - 9:00pm,

with a listening session on Sun, 10/14 at 1pm  of oral histories (both of DD patrons and LWD interviewees) and a closing reception at 6pm on the same Sunday.

Featuring selected works by patrons of Dignity Diner in Chicago's Lakeview neighborhood, as well as oral history interviews with homeless men and women on Lower Wacker Drive. This exhibition is curated by Jessica Maiorca.

In "At Six O’Clock We Eat," homeless artists have attempted to document their unique perspectives on identity, urban life, and the creative process in tenuous, unstable, and often dangerous environments. The exhibit includes pieces by approximately 15 artists using mixed media.

The artists involved in "At Six O’Clock We Eat" are, by their dint of extreme circumstances, solitary artists. Though they live their lives in public, they have little space for community coordination on any matter beyond survival. In response, MGR Foundation volunteers and Dignity Diner artists have collaborated for the past year to develop works that reflect homeless artists' identities and the honest interactions between various elements of society normally beyond each other's purview. The result is a unique body of work that places viewers in the perspective of Chicago's most isolated. –J.M.

Jessica Maiorca is Director of CareTeam, a Chicago volunteer program whose mission is to create events that encourage interaction between their volunteers and the populations they serve. CareTeam works throughout the city, with events ranging from photography projects with youth to quiz shows at men's shelters. Jessica credits this exhibit to Kara Teeple of Dignity Diner, Hilary Marshall of StoryCorps, and everyone at MGRF who helped push this forward.

OPENING RECEPTION, FRIDAY, AUGUST 31, 7-10 PM

Through the medium of language, my work contemplates themes of disaster and the inscription of irony and utopic desire upon the landscape, through the mediums of models of signs, watercolors, drawings and panoramic maps.These are meant to act as explorations and interrogations of fictitious spaces, to
investigate how language translates the inscription of utopic desire onto the landscape, as a process of interrogating the territorialization of man-made
marks, signs, mappings, and disasters interpreted as changes wrought upon the landscape.The irony of disasters such as flood, forest fires, landslide, and
avalanche caused by human intervention in the landscape, is addressed through an indirect process of naming of states or conditions, addressing notions of
the sublime and the utopic.

Images

Opening: June 2nd 7-9pm with performance by Mathias Kristersson at 8pm

Visual artist and musician Mathias Kristersson believes nothing is possible to descibre with language. He will present an exhibition at The Green Lantern titled “From here to there,” a multimedia show that asks its audience to think about the space in-between language. When we speak and mean what we say, do we also mean what we don’t say? Studying semiotics through sound, video, and performance, Kristersson investigates the content, transmission and perception of written and spoken words. The artist reexamines words (and noises) by slowing them down, breaking them up, and housing them in new environments. Language, with its multifarious possibilities, acts as an object to be manipulated, re-contextualized, and grasped differently as we travel from place to place.

Organized by Stevie Greco, “From here to there” comprises a series of sound installations which reconsider and communicate with the architecture of the gallery space. The accessible and autonomous works engage the audience beyond notions of “English” or “Swedish,” aiding in our collective understanding of reality as we hear significant tones, see letters in anew way, and heed to the silence. Featuring a project room by Todd Mattei, this exhibition helps guide us through the post-modern condition examined by The Green Lantern's 2006/2007 season. -SG

June 9
musical performances by Mathias Kristersson, MALE, and surprise guests.
BYOB, 8pm, $10 donation at the door

Also, images for From Here to There...

Show opens on Friday April 27th, from 7-10pm
Live Jazz performed by Celia Whiren and Ryan Meisel

Is there a responsibility to preserve and protect international history? Is one similarly responsible for the various modes of appropriation that, while furthering one dialogue, might destroy its origins? If we are encouraged to promote and preserve the past, how does one preserve tradition for its own sake, retaining and propagating its' original potency as a contemporary object, rather than fetishizing its' historical stature? In a global community, various national aesthetics are constantly being re-appropriated and re-contextualized. In "Culture-Mutt" two geographically disparate artists are presented side by side in order to explore a portrait of global influence. American painter Carl Baratta and Tibetan Thangka painter Tsherin Sherpa, display distinct but related voices, articulating a visual bridge as a metaphor for our cultural climate, where the migration of culture is an endless force of international awareness, celebration and destruction.

Baratta grew up in Philadelphia and completed his formal education with an MFA at Chicago's School of the Art Institute. Applying a pastiche of Asian motifs borrowed from video games and flat decorative landscapes, Baratta personalizes these formal elements, making them relevant to his own context. Baratta has the freedom to employ foreign tropes and incorporate them in his voice. He is not bound by the traditions he adopts. His tradition is entrenched in destruction and reconstruction; he is bound to break rules and rebuild new surfaces with scraps discovered in the rubble. Baratta's approach is far from the ancient tradition of Tibetan Thangkas. The ornate and laborious sophistication of Thangka painting comes from hours of quiet work; paints are ground by hand and mixed with yak glue, and the picture-field is comprised of an infinite many minute dots, like hand drawn pixels. Tsherin Sherpa will hang his work beside Baratta's; although born in Tibet, Sherpa grew up in exile in Nepal apprenticing with his father as a painter. The direct descent of knowledge is an effort to preserve a tradition that is threatened by the development of the world. 
 It is important to consider the non-historic implications of this tradition, a style of working that seems incongruous with the contemporary media-driven world. It is steady, ornate and non-disposable.

These two artists have distinct motivations: on the one hand, Sherpa wants to preserve his Eastern tradition, while on the other Baratta wants to stand out in the Western one. While Baratta's work might be more accessible to the contemporary audience, his hand belies an unsophisticated mark. There is a pleasure to be gleaned in the tension of these two hands, indicative as it is, of the greater condition of the shrinking world.

Images from Thserin Sherpa and Carl Baratta

Images from the show

Some questions to Ruskin’s concept of the pathetic fallacy[1] surely follow the answers through the 19^th and 20^th centuries into the present 21^st.  Do we seek to conjure an “other”, as in the concept of prosopopoeia, or apostrpohe in order to have someone present to listen to us? Does this anthropomorphism /personification/ subjectification allow a certain colonisation of the world with our subjective emotions? What happens when this runs amok or  becomes commodified and proliferated through mass media? Do Disney characters allow subjectification of objects, landscapes, architecture? In today’s postmodern world, what if this mass subjectification of the “spirit” or animus, landscape, or objects is really an aspect of commodification that is reinterpreted as we receive and project the images of our emotions into hyperreality and media images?

The artists here exhibit a tendency to direct communication; hybridization of “hand” techniques and materials: drawing if one may observe. These media can be intimately tied to singular objects and subjective points of view, but are not necessarily tied to an idea of the “authentic” or real. Ruskin preferred his writers and painters to let an image be an image and an object an object, so as not to “color” the world with an overwhelming emotion  saying that “the greatest poets surmount the flux of consciousness; they do not present all reality, all human life, as it appears to them during the brief instant they experience an intense emotion” [based upon The Aesthetic and Critical Theories of John Ruskin (Princeton UP, 1971). The works exhibited are presented as singular subjective responses, more in the realm of art than “mass” media, even as they reference images from different sources culled from within that media. The strategies of each artist are not beyond appropriation, as they try to recolonise images taken from traditional stories and are endlessly reflected back to us and reinterpreted.

Sandra Dillon’s drawings in pencil and gouache “reflect”; the Modernist buildings with their glass surfaces mirror our inner selves, presented impenetrable facades and faltering architecture, as well as endless reflections between opposing surfaces in which we are lost in a forest of signs. Her multiplicitous slumping dishes or recievers point to our fascination with images from around the globe. Are they overloaded as well?

Jason Dunda’s intimately scaled gouaches depict hummocks and hills, or are they animals? Their lumpy green “fur” or grass suggest a relationship with landscape in the process of either growth or decay or burial mounds.

Scott waters’ oil and acrylic warplanes on found floral scraps of wallpaper suggest a violence tied with domesticity, at the same time that the wall paper intimately connects to the idea of a proliferation of images that functions in the background, like wallpaper.

Joe Trupia’s painting/drawing hybrids are informed by a wide array of sources, including meteorological phenomena, viral pathology, topography, apocalypse cults, crypto zoology, evolutionary adaptations in birds, epidemiology, and ghosts. The projection of these dream like concepts of science up into cloudlike formations or down upon a landscape with no visible horizon line contrast each other with opposing points of view, suggesting flight or placement upon the earth. –DA

A Night at the Races: Racecar is racecar backwards, but piecar forwards is a challenge

A Night at the Races is a one-evening pie race event, which utilizes slapstick symbology navigating a series of tracks like roman chariots to explore the collision of craft, performance, reality, and cartoon through the literal collision of piecar into piecar.   

Go fast, turn left, and don’t crash!

For this event Duguid and Olson have created two remote control pie-racers that the audience can use to compete with on a two-dimensional track.  These piecars are literally remote control cars of which the bodies have been altered with pie tins creating a pie on wheels that will race on a hand drawn track. In heats of two racers at a time the pie-racing talent will be weeded out of the audience.  As the evening progresses the courses will be altered to increase in difficulty until a pie-race champion is named.   There will be a special prize for the victor.

Meg Duguid is a smiler, a laugher, and a joker. Utilizing the structures of comedy she explores the role humor plays in culture. Meg received her MFA from Bard College in 2005 and her BFA from the School of the Art Institute of Chicago in 1999. She has exhibited and performed at the Chicago Cultural Center, the DUMBO arts festival, The Museum of Contemporary Art in Chicago, Galapagos Art Space in Brooklyn, Flux Factory in Queens, and 667 Shotwell in San Francisco.

Catie Olson inevitably incorporates humor into her work.  She captures the humor bent ideas with still and motion film.  Catie received her BFA from the School of the Art Institute of Chicago in 2000 and a BS from the University of Illinois at Urbana-Champaign in 1995.  Her work has been shown in various galleries and venues in Chicago including COMA, and Heaven Gallery.  Some of Catie's short films have also been on traveling road shows throughout the US.

Duguid and Olson have recently collaborated on an exhibition called Laugh Seriously at Butcher Shop Dogmatic Gallery, and are continuing their exploration of pies.

Images from Piecar

Images from the event