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Projects > Broadside Attractions | Vanquished Terrains



Tea & Dialogues, Liz Worthy & Jenny Bitner, 2012



Eye To Eye, They Solemnly Commence To Make The Scene, Maw Shein Win & Matthew Rogers, 2012



Danger, Nathaniel Parsons & Ly Nguyen, 2012



Threesome, Ly Nguyen & Nathaniel Parsons, 2012


Still Miracles, Misa Inaoka & Jaime Cortez, 2012





Confusion, Jenny Bitner & Liz Worthy, 2012




Vertical Horizons, Eliza Barrios & Myron Michael, 2012



Nana Twumasi & Dwayne Marsh, 2012



Exists Somewhere & Exists Nowhere, Keiko Ishihara & Chaim Bertman, 2012




Between The Lines, Patricia Kelly & Vince Montague, 2012




Ruby Crowned Kinglets, Hugh Behm-Steinberg & Megan Wilson, 2012



Broadside Attractions | Vanquished Terrains, Intersection for the Arts, installation view, 2012

BROADSIDE ATTRACTIONS | VANQUISHED TERRAINS
APRIL 11 – MAY 26, 2012
INTERSECTION FOR THE ARTS

925 Mission Street, Suite 109, San Francisco, CA 94103

Curated by Megan Wilson and Maw Shein Win in collaboration with Kevin Chen and Intersection for the Arts, Broadside Attractions | Vanquished Terrains featured twelve pairs of visual artists and writers creating new collaborative work inspired by the historical broadside and reflections on current events and contemporary culture using the theme of “vanquished terrains” as a point of departure.


Snap Out of It, Matthew Rogers & Maw Shein Win, 2012

Historically the broadside has been defined as a large sheet of paper printed on one side and designed to be plastered onto walls in public to announce events, proclamations, or news. Although broadsides were first introduced in England, they became a prime means of communication and the most common form of printed material in the early days of the U.S. before newspapers. In addition to announcements, advertisements, and commentaries, broadsides also came to feature cartoons, poems, and song lyrics.



A famous example is the Dunlap broadside, the first publication of the U.S. Declaration of Independence printed on the night of July 4, 1776 by John Dunlap of Philadelphia in an estimated 200 copies. Before newspapers, magazines, pamphlets, and the internet, there was the broadside, but unlike these other visual forms of communication, the broadside was intended to be ephemeral, i.e. temporary documents created for a specific purpose and intended to be discarded. Over time, artists and writers began to embrace the format and structure of the broadside, working with printers and publishers to create limited edition multiples of their work, oftentimes a short written piece accompanied by an illustration depicting the essence of the writing.

During the 20th Century in the U.S., Harlem Renaissance, Concrete, and Beat writers all claimed the broadside as a below-the-radar way to get their work out onto the streets. However, as printed matter has become more and more obsolete in our digital world, the broadside too has become outdated or less accessible (today poetry broadsides can be purchased as limited edition artworks through venues such as City Lights).


Grey Market 13 Inch Power and Grace, Paul Bridenbaugh & Steve Gilmartin, 2012

The project paid homage to the history of printed matter as a means of public communication, highlighted cross-disciplinary work between artists and writers, and demonstrated a 21st Century reinterpretation of one of the original forms of public communication.

Artist | Writer pairs:
Eliza Barrios | Myron Michael
Paul Bridenbaugh | Steve Gilmartin
Karrie Hovey | Elise Ficarra
Misa Inaoka | Jaime Cortez
Keiko Ishihara | Chaim Bertman
Patricia Kelly | Vince Montague
Dwayne Marsh | Nana Twumasi
Nathaniel Parsons | Ly Nguyen
Christine Ponelle | Annice Jacoby
Matthew Rogers | Maw Shein Win
Megan Wilson | Hugh Behm Steinberg
Liz Worthy | Jenny Bitner

Part One: The Visual Artists provided their writer collaborator with a “playlist” inspired by the theme Vanquished Terrains. The playlist included: One piece of music One movie One location

Part Two: The Writers created a poem or prose up to 1,000 words based on the playlist provided to them by their artist collaborator.

Part Three: The Visual Artists created a 2-dimensional graphic black & white image inspired by the written piece created by their writer collaborator.

Part Four: The written and visual works created in Parts Two & Three were paired together and printed as a traditional broadside. The size of the broadside is 15 by 22 inches.

Part Five: The Collaborative Teams worked together to create a non-traditional interpretation of the broadside, integrating the written text from Part Two.

www.BroadsideAttractions.com


Endangered, Karrie Hovey & Elise Ficarra (with Evelyn Ficarra), 2012


4 Ever, Christine Ponelle & Annice Jacoby, 2012



Broadside Attractions | Vanquished Terrains, Intersection for the Arts, installation view, 2012


Help!, Megan Wilson & Hugh Behm-Steinberg, 2012