I remember in the early nineties when my boyfriend at the time (John Hlinko:) hi john!) LOVED Mariah Carey. I’ll Be There, Dreamlover, Emotions, Vision of Love, Someday blarred throughout our apartment. I would tease John endlessly with this little pop obsession of his (oh, yeah, he also loved Debbie Gibson — now she was worthy of the ridicule, and he loved En Vogue — I could understand this more). He would just grin and sing along louder. I thought Mariah was just sappy pop fluff. She wasn’t Chrissie Hyde, Courtney Love, K.D. Lang, Michelle Shocked, Natalie Merchant with their political edge or hard rocker appeal.

Flash forward twelve years — I’m sitting here listening to Mariah and I LOVE her! Mariah rocks! and always has. Whenever, I’m feeling a little heartbroken or in need of lifting my spirit, Mariah will in fact, Be There.

John you were right ;O

Size Matters

This is one of the most ridiculous articles I’ve read:

Study Finds Taller People Are Smarter
NEW YORK (Aug. 26) – While researchers have long shown that tall people earn more than their shorter counterparts, it’s not only social discrimination that accounts for this inequality — tall people are just smarter than their height-challenged peers, a new study finds.

“As early as age three — before schooling has had a chance to play a role — and throughout childhood, taller children perform significantly better on cognitive tests,” wrote Anne Case and Christina Paxson of Princeton University in a paper published by the National Bureau of Economic Research.

The findings were based primarily on two British studies that followed children born in 1958 and 1970, respectively, through adulthood and a U.S. study on height and occupational choice.

Other studies have pointed to low self-esteem, better health that accompanies greater height, and social discrimination as culprits for lower pay for shorter people.

But researchers Case and Paxson believe the height advantage in the job world is more than just a question of image.

“As adults, taller individuals are more likely to select into higher paying occupations that require more advanced verbal and numerical skills and greater intelligence, for which they earn handsome returns,” they wrote.

For both men and women in the United States and the United Kingdom, a height advantage of four inches equated with a 10 percent increase in wages on average.

But the researchers said the differences in performance crop up long before the tall people enter the job force. Prenatal care and the time between birth and the age of 3 are critical periods for determining future cognitive ability and height.

“The speed of growth is more rapid during this period than at any other during the life course, and nutritional needs are greatest at this point,” the researchers wrote.

The research confirms previous studies that show that early nutrition is an important predictor of intelligence and height.

“Prenatal care and prenatal nutrition are just incredibly important, even more so than we already knew,” Case said in an interview.

Since the study’s data only included populations in the United Kingdom and the United States, the findings could not be applied to other regions, Case said.

And how tall are the researchers?

They are both about 5 feet 8 inches tall, well above the average height of 5 feet 4 inches for American women.


I’m back in high gear working on my installation Forever Summer. It’s two years in the making now (slowed down to finish up other projects) and will finally be completed in the fall (I hope!). For the project, I’m turning my entire living space into an installation of textiles, textures, crafts, and colors, all mixed with a heavy dose of meditative madness.

Several folks have been over recently to visit and the responses by all have been a puzzled “what are you going to do with this?” It’s a similiar response to the ones that I’ve gotten to all of my large scale installations over the past several years: “How could you sell this (I actually was approached to sell one of these installations and recreate it in a private home and I declined because I had no interest in doing the same work over again)?” “How would a museum purchase this work since it’s so delicate and complex and you’d always have to be there to reinstall it?” “How much did you spend on this … and why would you put so much time and money into something that you’re going to destroy?” Although if I were to tell someone that I had just spent the day shopping and purchasing a bunch of stuff, that would be viewed as perfectly normal and unquestionable. It’s almost as though I should be looking at this work as more of a hobby, which is fine with me — I could claim myself as a hobbyist, rather than an artist — though does it really make a difference?

These reactions to my installation work remind of a similiar responses to my initial public work, the Better Homes and Gardens project through which I hand-painted 250 “Home” signs and gave them away as a response to the unrestricted development in the late ’90′s and early 2000′s that left many people homeless, and the Flower Interruption through which I hand-painted over 800 paper flowers and then placed them in the middle of the street; each installation was destroyed/dismantled within several hours. Though at that time the questions were more along the lines of “who are you working with?” Meaning — what institution are you working with? It was incomprehensible that I could possibly be working independently. Of course this attitude has changed to some degree over the past several years as “Relational Aesthetics” has become the buzz term of current art trends. “Oh, it’s social sculpture; a relational aesthics project.” Though a great degree of this rather new, or mainstream artworld understanding can be attributed to the packaging and appropriation of it by the institutions themselves — it’s very hip, easily digested, and almost expected now to be doing such work.

I experienced some of this expectation earlier this year when I did one of my large scale installations in a gallery setting. I received a very favorable review of the exhibition, which I was appreciative of; however the writer referenced my earlier “generous public installations” and questioned why I hadn’t linked this work to my “previous work by including some interactive or socio-relational aspect that would galvanize its message and push it beyond decorative suspicion?” I found the observation, or inquiry so off the mark, since the installation was far removed from that realm of obvious intention. Yet it was clear to me that in fact, the work was steeped in “interactive or socio-relational” implications, relating to the concept of providing an environment and experience for the viewer that was about living in that moment and taking in a respite of beauty and playfulness.

The answer to the initial question about the current installation is that it will be a public “exhibition” or “open house” when finished and will be on view for six weeks, accompanied by dinners to share in discussions of home, environment, global forces that have reshaped how interior space is viewed, and contemporary trends in exhibiting and experiencing art. However, I don’t feel this component is the end to the means or purpose of the work. The work has been the process itself, a personal/private experience of creating an environment — and one that is temporary — where the subsequent viewer, as previously noted, is invited to share the experience in that moment. This approach to my work has always been very satisfying and more at the core of who I am. I love the Buddhist implications in working in this form — intuitively and ephemerally, embracing the detachment to the final “product” and the inevitability of impermenance.


Tippy Canoe approached me in 2005 at my opening of Sunset to ask if she could use the installation as a backdrop for a photo shoot for her band Tippy Canoe and the Paddlemen. I was honored and became even more excited when she told me that she plays ukulele and described her music. She just sent me some images from the shoot — luv ‘em! The photos were taken by Kristopher Parra. Tippy is a hottie.

More about Tippy Canoe and the Paddlemen (from their Website):

Tippy Canoe & the Paddlemen play popular music or what the kids call “pop”. Now their sound may not exactly be the popular music of today, but it encapsulates what has made people smile, laugh and talk about over the last nine decades. Your ears will perk up when you hear their potent toe-tappers or you’ll gladly wrap yourself in the melancholy they cast when performing a dreamy ballad.

Songbird and uke-slinger, Tippy Canoe, is on a mission to bring sincere uplift in a severely down-slanted era. Her voice is a mixture of the 60′s girl group sound and classic country with its own quirky nature shining through. Her songwriting bears the stamp of a person who has absorbed a variety of influences. These range from 20′s and 30′s acts like The Boswell Sisters or Jack Teagarden to 50′s and 60′s performers like Brenda Lee and catchy post-punk bands such as Squeeze or Blondie.

The Paddlemen use their skill with the drum kit (Rick Quisol-The Frisky Frolics, Cari Lee & the Saddle-ites, Atomic Cocktail), upright bass (Bill MacBeath- Alvin Youngblood Hart, Carlos Guitarlos) , violin/vocals (Steve Gardner- Culann’s Hounds), and guitar (Isaac Carter-Carter & Bodlovich, Acme Swing Company) to conjure up a tight-knit mesh of rhythm and melody. The other gentlemen who have worn the badge of Paddleman either live or on recordings include Chris “T.G.” Green (The Frisky Frolics, Dogwood Mercy, Atomic Cocktail),Tom Galbraith (Mink Lungs, Blank Stares, Mensclub), Pat Johnson (Penelope Houston, Dave Gleason’s Wasted Days) and Bart Davenport (Loved Ones, Persephones Bees) .

You can call it old-timey, you can call it retro, you can even make up a word and call it 20sjazzcountrydoowoppop, but whatever the moniker just let yourself go and enjoy it.

” I do not fear ukuleles, I fear lack of them” -Isaac Asimov, author


My good friend Maw just finished her residency at The Headlands Center for the Arts. During the residency Maw completed her beautiful Broadside Project (2006).

I was honored to be included as one of the collaborating artists. You can check out my collaboration with Maw here.

Maw’s introduction to the project:
When I arrived at the Headlands Center for the Arts for my summer 2006 residency, I realized this was the perfect time and place for me to work on one of my long-time dream projects: to complete a collection of broadsides.

I decided to collaborate with artists I already knew as well as with artists I met at the Headlands. I asked some artists to create an artwork in response to poems I had written during the residency. Then I asked the other artists to create a piece with no set theme to which I would respond with a poem. The only parameter was that the dimensions of the artwork could not exceed 6 by 6 inches.

I would like to thank Tony Foster for his help with design and production and also extend my gratitude to the Headlands
Center for the Arts for this opportunity.
-Maw Shein Win

Artists and Titles of Poems:
Jenny Bitner
The Wedding Party

Youmna Chlala
The Unexpected Visitor

Adrian de la Peña

Patricia K. Kelly
Summer in St. Albans, England, 1963

Danielle Julian-Norton

Claudio Orso
The Collective Dreams of Mice

Nathaniel Parsons

Christine Ponelle
Portrait of a Landscape

Matthew Rogers
The Blindfold That Shields

Megan Wilson
Girl With Turtle


After the collapse of Japan at the end of World War II, Indonesian nationalists under Sukarno took the opportunity to declare independence from Dutch colonial rule. With the assistance of indigenous army units created by the Japanese, an independent Republic of Indonesia with Sukarno as its president was proclaimed on August 17, 1945.

Indonesian National Anthem:
Indonesia Raya (Great Indonesia)

Indonesia tanah airku,
Tanah tumpah darahku,
Disanalah aku berdiri,
Jadi pandu ibuku,
Indonesia kebangsaanku,
Bangsa dan tanah airku,
Marilah kita berseru:
“Indonesia bersatu!”
Hiduplah tanahku,
Hiduplah negeriku,
Bangsaku, Rakyatku semuanya.
Bangunlah jiwanya,
Bangunlah badannya
Untuk Indonesia Raya!


Indonesia Raya, merdeka, merdeka
Tanahku, negeriku yang kucinta
Indonesia Raya, merdeka, merdeka
Hiduplah Indonesia Raya
Indonesia! Tanah yang mulia,
Tanah kita yang kaya.
Disanalah aku berada
Untuk slamalamanya.
Indonesia, Tanah pusaka,
Psaka Kita semuanya.
Marilah kita mendoa,
“Indonesia bahagia!”
Suburlah Tanahnya,
Suburlah jiwanya,
Bansanya, Rakyatnya semuanya.
Sadarlah hatinya,
Sadarlah budinya
Untuk Indonesia Raya.


Indonesia! Tanah yang sutyi,
Tanah kita yang sakti.
Disanalah aku berdiri
Ndyaga ibu sedyati.
Indonesia! Tanah berseri,
Tanah yung aku sayangi.
Marilah kita berjanji:
“Indonesia abadi!”
Slamatlah Rakyatnya,
Slamatlah putranya,
Pulaunya, lautnya semuanya.
Majulah Begrinya,
Majulah Pandunya
Untuk Indonesia Raya.

English Translation:

Indonesia, our native country,
Our birthplace,
Where we all arise to stand guard
Over this our Motherland:
Indonesia our nationality,
Our people and our country.
Come then, let us all exclaim
Indonesia united.
Long live our land,
Long live our state,
Our nation, our people, and all
Arise then, its spirit,
Arise, its bodies
For Great Indonesia.


Indonesia the Great, independent and free,
Our beloved country.
Indonesia the Great, independent and free,
Long live Indonesia the Great!
Indonesia, an eminent country,
Our wealthy country,
There we shall be forever.
Indonesia, the country of our ancestors,
A relic of all of us.
Let us pray
For Indonesia’s prosperity:
May her soil be fertile
And spirited her soul,
The nation and all the people.
Conscious be her heart
And her mind
For Indonesia the Great.


Indonesia, a sacred country,
Our victorious country:
There we stand
Guarding our true Mother.
Indonesia, a beaming Country,
A country we love with all our heart,
Let’s make a vow
That Indonesia be there forever.
Blessed be her people
And her sons,
All her islands, and her seas.
Fast be the country’s progress
And the progress of her youth
For Indonesia the Great.

I have the Gombloh version of it given to me by Samuel Indratma (thank you Sam!) and I love it!! I’m listening to it right now as I write this.

I love how Inodonesia’s national anthem is about the love of the country, the soil, the soul, it’s youth — “conscious be her heart and her mind” etc. versus war, bombs, and rockets …. hmmmm sound familiar?


I watched the documentary McLibel last night and it was so inspiring!! Helen Steel and Dave Morris are two of the greatest role models in history.

from the McSpotlight Website (this is a great site to find all the info):
The McLibel Trial is the infamous British court case between McDonald’s and a former postman & a gardener from London (Helen Steel and Dave Morris). It ran for two and a half years and became the longest ever English trial. The defendants were denied legal aid and their right to a jury, so the whole trial was heard by a single Judge, Mr Justice Bell. He delivered his verdict in June 1997.

The verdict was devastating for McDonald’s. The judge ruled that they ‘exploit children’ with their advertising, produce ‘misleading’ advertising, are ‘culpably responsible’ for cruelty to animals, are ‘antipathetic’ to unionisation and pay their workers low wages. But Helen and Dave failed to prove all the points and so the Judge ruled that they HAD libelled McDonald’s and should pay 60,000 pounds damages. They refused and McDonald’s knew better than to pursue it. In March 1999 the Court of Appeal made further rulings that it was fair comment to say that McDonald’s employees worldwide “do badly in terms of pay and conditions”, and true that “if one eats enough McDonald’s food, one’s diet may well become high in fat etc., with the very real risk of heart disease.”

As a result of the court case, the Anti-McDonald’s campaign mushroomed, the press coverage increased exponentially, this website was born and a feature length documentary was broadcast round the world.

The legal controversy continued. The McLibel 2 took the British Government to the European Court of Human Rights to defend the public’s right to criticise multinationals, claiming UK libel laws are oppressive and unfair that they were denied a fair trial. The court ruled in favour of Helen and Dave: the case had breached their their rights to freedom of expression and a fair trial.

for ignoring the cease fire and pumping up your troops. This is not the heritage of love, compassion, and understanding that my Jewish ancestors are from and I’m ashamed that Israel is perceived as being synonymous with being Jewish.

Update On Earthquake Relief In Yogyakarta Indonesia

Thanks to many people in the San Francisco community we were able to raise $6,400 to send to help with the relief efforts in and around Yogyakarta. I just received the following email from our friend Arie Dyanto:

Dear Megan,

Sorry took a while to get back to you because I just got all the money 2 days ago but I am glad to inform you about your request; I found Gipar (Gipar is a becak driver who has become my friend over the years and wrote to me to ask for help for his village. In 2004 I did a project in which I painted becaks, including Gipars) and deliver the money to him today. I even visited his house in Kujon Village which is suffered from the earthquake, 98% of houses is flattened to the ground. I gave him Rp. 3.000.000,00 I hope it will be enough to survive for few weeks since Gipar got a big family to feed. Suppose thousands of people in the same situation like him.

Here I send you letters about the money and fotos from Gipar’s house, I am not yet sending a detail financial report since Studio Biru accounting procedure is not yet completed. Please forward this letter to everyone if they might want to know where their contribution has been used and distribute.

Gipar’s home

Gipar’s home

Gipar’s home

Gipar’s home

Gipar and his nephew

This is the letter to all that helped:

Re: Reconstruction Aid for the Victims of the Earthquake in Yogyakarta

Dear Everyone,

On behalf of YUK! I am extremely grateful for the funds of US$ 6.475.47 that were made available to us. The funds have been used specifically for the items mentioned below:

Received money in Rupiah: RP. 58.558.000,00

- Cemeti Art Foundation, “Aku Oke!” (I am Ok!) project: Rp. 5.000.000, 00

- Mr. Gipar and family (becak driver from Kujon village, Imogiri):

Rp. 3.000.000,00

- Studio Biru + YUK! Reconstruction project: Rp. 50.558.000,00

“Aku Oke!” is an ongoing accompanying project organized by Cemeti Art Foundation, scheduled until October, in order to help kids from the earthquake site to overcome post disaster trauma.

Mr. Gipar was recommended by Megan Wilson to receive US 300 from the funds in order to help him build up his flattened house after the earth quake.

Most of the money went to Studio Biru + YUK!, for their reconstruction project. The money was used to buy house materials and distributed among villages that were surveyed. For a further detailed financial and activity report, Studio Biru will send this after the accounting process is done

We would like to thank Intersection for the Arts and all fellow friends and artists for your assistance in our time of need.

Yours sincerely,

Arie Dyanto

Fundraising Volunteer

Studio Biru + YUK!

Thank you so much to the following:
Rainbow Grocery, Megan Wilson, Kevin Chen, Intersection for the Arts, Carolyn Ryder Cooley, Alicia McCarthy, Carolyn Castano, Ann Dennehy, Laurie Lazer, Hang Le Bourque, Maw Shein Win, Leslie Linnebur, Le Beau Market, Melissa Klein, Dan Carlson, Ed Gilbert, Allison Wycoff, Rosy Parsons, Jonn Herschend, Claude Moller, Valerie Wade, Chi Hui Yang, Tia Factor, Amy Berk, Richard Lang, Therese Condit, Nguyen Qui Duc, Matthew Rogers, Mary Teurel, Lise Swenson, Jay Steinman, Paul Jorgensen, Marie Eastman, Rigo, Courtney Fink, Dan Carlson, Curtis Betz, Hadley Holliday, Erik Foster, Nicole Lambrou, Hillary Bleecker, Jill Pfeiffer, Sara Thustra, Peter Whitehead, Aaron Noble

We also received this from Aisyah Hilal of the Cemeti Foundation in Yogyakarta:

Hi there,

This is an email I sent through Arie Dyanto, which needs to be forwarded to Intersection of the Arts. By this email I would like to confirm that Cemeti Art Foundation received the donation funds for AkuOke!, a 4 month (July-October/November 2006) project that responds to the earthquake victims, especially the children (aged 4-14 years) in two villages, Dusun Sampangan, Wirokerten-Banguntapan and Dusun Tegal, Kebonagung-Imogiri, both in Bantul area.

The donation funds received was as amount of Rp 5,000,000 (five millions rupiahs).

We’d like to thank you for this support, and we’ll keep you updated with the general information of the activities and financial report, which would be sent to you in the first week of each month.

With kind and optimistic regards,

Aisyah Hilal

Executive Director

Cemeti Art Foundation | Yayasan Seni Cemeti
Jalan Patehan Tengah No. 37
Yogyakarta 55133, INDONESIA
Tel. +62.274.375 247, Tel./Fax. +62.274.372 095
Opens Monday – Friday, 9.00 am – 5.00 pm
Cemeti Art Foundation (CAF) is a non profit organization, which empowers visual arts infrastructure in Indonesia. Its core activities are documentation, research, and education. In implementing its programs and projects, CAF also builds networks with equal partner, in the scope of local, regional, as well as international | Yayasan Seni Cemeti (YSC) adalah sebuah lembaga nirlaba, yang mendorong pemberdayaan infrastruktur seni visual di Indonesia. Bidang utamanya adalah dokumentasi, riset, dan pendidikan. Dalam kerjanya, YSC juga membangun jaringan kerja dengan mitra sejajar, baik dalam lingkup lokal, regional, maupun internasional.

The Turtle and Me

My friend Maw Shein Win is currently doing a residency at the Headlands Center For The Arts to work on her poetry. As part of her residency she’s asked 10 of her friends to make drawings for her that she’s writing poems about. I’m very honored to be one those she asked. This is the drawing that I gave to her. It’s taken from a combination of the two paintings that my mother did when I was around 2-3 years old.

I remember watching her as she painted them and I was disappointed that the turtle wasn’t in my painting. My mother just recently gave me both of these paintings when I visited in July. I wanted to draw or redraw the image of myself through my eyes now and how I wanted it at the time. I was interested in really looking at the images and thinking about my mother and her thoughts as she painted these over thirty years ago. Doing the drawing now made me feel closer to my mother and really appreciate her work and creativity — being an artist myself now and having a much greater perspective on who she was or might have been as a young artist.

I spoke with Maw today and she wanted to hear more about who I was as a child at that age and what I looked like. So these images are for Maw :)

My birthday party

My brother and I

My brother and I

I guess I’ve always loved mumus

Me and my friend from across the street Kyle Lythgoe

And I found a picture of our old pea green jeep