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Adriane Herman

CheCking it twiCemonuments to intention / inquiries into aCtion

Adriane Herman: Checking It Twice Center for Maine Contemporary Art, Rockport, Maine October 21 to December 15, 2007

©2008 Adriane Herman

Photos of finished inlaid burnishing clay worksand graphite rubbings by Bernard C. Meyers

facing page: adhesive vinyl installed at Chase’s Daily, Belfast, MEcover: [yellow] bananas, 2005, inlaid burnishing clay on wood, 16 3/4” x 16 1/2”

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LIST NO LONGER ADRIFTessay by Kelly Jackson, Assistant Curator

On a recent winter’s day, a bitter wind breezed through Rockland’s Harbor Plaza,

causing a folded paper to tumble gracefully alongside my footsteps. At first, it is simply

the beauty of movement that catches my attention. When it stops, the paper is trash.

Just as soon as I wonder if I’m feeling generous enough to pick it up and throw it away,

I stop. Feeling a flicker of excitement, I snatch it up like a lucky finders-keeper. Sure

enough, it is a list! A grocery list, in fact. Even though I am outside an office supply

store, this persistent list has migrated across the vast expanse of parking lot from the

distant supermarket.

It is an impressive, two-sided list, outlining a week’s worth of meals and a breakdown

of component items. It has a pre-printed outline, with a calendar on one side and on

the reverse, a division of food types according to their store location. Examining the

foods, handwriting, and spelling, I try to decipher its maker. Surely this is a mother,

probably lower-middle class, moderately educated, with good intentions. I imagine

the shopping cart filled with her gatherings—the kids all in school, or perhaps a young

one is with her. Not all the items are crossed off and some are inadvertently listed

twice. I wonder, was she done with this list? Did the wind prematurely wrest it from

her? Will she remember which sequence of foods was planned for each meal? I begin

to worry for my found list-maker.

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found, gifted, and bartered lists

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Indeed, I am retroactively constructing identity based on a number of considerations.

After all, this list—any list—is a small map of meaning. What is the paper choice? What

is the script like? How self-conscious is the list-maker? How tight or how fluid are their

mental boundaries? Can I infer age, gender, class, taste? What are they doing, where

are they going? How specific are they? Are they on a schedule, on a budget? What is

their mood—worried, excited, matter-of-fact?

The content of these otherwise off-handed, discarded to-do lists stands to be

deciphered, and were it not for Adriane Herman, I—like many others—would have

processed my found list much less consciously, if at all.

ONE PERSON’S TRASH

For years, the artist Adriane Herman had been collecting found

lists, inspecting and saving them, tucking them into nooks

and crannies of her house/studio—without a specific end

in mind. In November 2006, I first met with Herman. We at

the Center for Maine Contemporary Art (CMCA) had heard

of her successful community art projects (most notably

the “Long Overdue” project in collaboration with the

Maine College of Art and the Portland Public Library) and

invited her to consider a project in midcoast Maine where

CMCA is located. In later brainstorming, these collected

lists came to mind. She had made a handful of pieces

already, scaling up the size of a few distinctive lists, and

reinscribing them on panels inlaid with burnishing clay.

What about not just finding lists, but actively soliciting

them from the community? Why not assign these lists

value and barter for them—offering each community

contributor something in return? Herman proposed

creating a small artist’s multiple, in this case a temporary tattoo,

which could be traded for lists.

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invitational envelope (above); tattoo in situ (below)

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In April 2007, we purposefully ambled about the midcoast towns of Belfast, Camden,

Rockport, and Rockland, looking for venues that might be high-visibility partners in our

community-wide solicitation of lists. By the summer, we had half a dozen community

partners, such as coffee shops and libraries, that were willing to help broadcast the

project. Based on lists that Herman either already had in her collection, or ones that

had been pre-solicited from the community, she created large-scale vinyl replicas of

various types and shapes of lists. She installed these colorful lists on windows inside

and outside distribution sites for the return envelopes that explained the scope of the

project.

The outstretched arm depicted on the envelope was a stern schoolteacher version of

Uncle Sam, playfully demanding:

ENLIST YOUR LISTS!

Trade me your tired, your torn,

Your crumpled lists of tasks yearning to be done . . .

The wretched refuse of your trips to the grocery store,

‘n send these, your discarded lists, to CMCA for fun

(and in exchange for the tattoo this very envelope does hold).

I’ll lift my hand to the mailbox each day to see what unfolds,

And what kind of artful recycling I might do if I may be so bold!

Soon enough the envelopes came trickling in — a steady and eclectic stream — most

via the post and some by personal delivery. These lists were on varied scraps of paper,

pieces of wood, others on body parts (a photocopied list on a hand and arm),

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toilet paper, backs of envelopes, pharmaceutical notepads, etc. They were lists of

music, ways to recover from a breakup, tasks left behind by a working mother for her

child—varying combinations of personal needs, health issues, food, work obligations,

homework, people to call, bills to pay, planning for trips, caring for pets. Their content

covered a wide range of emotional registers—funny, flat, stressed, serious, frivolous.

Herman examined them all with joy and investigative intrigue.

THE BIGGER LIST

In October 2007, the exhibition “Adriane Herman: Checking It Twice” opened in CMCA’s

Loft Gallery. The stairwell leading up to the second floor gallery was covered with the lists

mailed in by community members. The collective effect of all the varied scraps of paper

gave the stairway a content-rich, claustrophobic feeling. Depending on how much one

engaged in the specificity of content, the swirling funnel of obligations and amusements

left one gasping for air at the top of the stairs. The contrast between the list-heavy walls

and the open space of the upper gallery was striking. The works of art Herman created for

the exhibition were monolithically large, monochromatically spare, and laden with time.

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Herman’s works were created in two different mediums—panels made by inlaying

burnishing clay and second, graphite rubbings made on fine paper. The rubbings were

made from the large-scale vinyl replicas of lists on storefront windows that had helped

solicit the submission of lists prior to the exhibition. Using fine, handmade papers,

Herman taped the sheets overtop the glass window. The vinyl adhered to the window

has just enough depth to make a relief when the graphite is rubbed over the paper, and

the resulting image resembles a gravestone rubbing. Herman editions these rubbings as

prints and imbues them with the same integrity as intaglio and lithographic processes.

With a sense of medium-expanding ingenuity, Herman gives the rubbings a place in the

larger repertoire of techniques available to a printmaker.

Not only do these pieces raise interesting questions about what constitutes the

printmaker’s process, but they also raise interesting questions in terms of their content.

Each list and its “to dos” represent a human life, and these pieces beg the question: “What

are the essential facts that mark a human life?” In many ways, Herman’s commemorative

lists are more revealing of a life than a headstone’s listing of family name, life dates,

and token sentiments. Like long-lost ledgers, they are removed from the immediacy of

creation and from the hand of a single maker. Instead, these anonymous lists become a

way of retrieving information about a larger human genealogy. What would generations

to come make of our daily “to do” lives? Through her alteration, Herman uses our

immediate life needs to more objectively trace lines of our descent and development. Just

as the gravestone rubbing preserves history from erasure on a worn, fallen headstone,

so too does Herman preserve an even more ephemeral layer of human residue.

Along with the rubbings, the materiality of the panel pieces conveys a deep passage

of time. With the panel pieces in particular, there is a significant disparity between the

speed of the list-maker’s creation and the time-intensive process of Herman’s re-creation.

Made through the process of inlaying burnishing clay, Herman begins by coating pieces

of wood panel with layers of liquid clay. When these initial layers successively dry, she

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Return Shirt, 2007,inlaid burnishing clay on wood,

8 3/8” x 10 1/4”

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facing page: adhesive vinyl on glassupper left & lower right: Maine Media Workshops, Rockport, MEupper right: Rockland Public Library, Rockland, MElower left: Zoot Coffee, Camden, ME

adhesive vinyl, Rock City Coffee, Rockland, ME

25¢, graphite rubbing on paper, 17 1/2” x 24 1/8”

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carves into the surface—reinscribing the lettering found on the lists, following the

handwriting as closely as possible. After being coated again with a contrasting color

and then burnished down to a fine polish, the pieces retain the subtle swirl of the liquid

clay on the reflective, finished surfaces.

As with the rubbings, the lists are enlarged to a monumental scale and have the feel of

deliberate preservation. They have the feel of early clay tablets attempting to archive

a civilization. With their black and earthen red palette, they resemble the pottery of

ancient Greece, serving as a historical guide to the daily life and mind of 21st century

Americans. Instead of depicting actual human figures engaged in various activities,

Herman makes a visual presence of an individual’s hand—spelling out an activity with

the personality of each line.

The scaling of Herman’s work also elevates the mark of the hand. With the immediacy

of email, BlackBerries, texting, etc., the written list seems to celebrate the last vestiges

of human mark-making. They lend nostalgia to pen and paper tactility that an entirely

handwritten era might have regarded as inconsequential. Like journaling, writing letters,

and taking notes, there is a highly personal quality to this self-communication, which

lends itself to a cut-and-dried level of honesty. These immediate and semi-arbitrary

acts of the hand are rendered more self-conscious when writ large, as if each stroke,

emphasis of line, and hierarchy of words were differentiated for deliberate meaning.

Herman presents these lists as a way of seeing the steps through which we enact

our intentions. How do people have ideas about what they do? What is important

to us and how do we make it happen? Like a lesson taught by a time-management

guru, they suggest the efficacy of intentionality and personal forecasting.

The individual components of these lists are alternately absurd and profound.

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process of inlaying burnishing clay

(carving & filling)

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rediscovering the image through sanding & polishing

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[yellow] bananas, 2005,inlaid burnishing clay on wood,

16 3/4” x 16 1/2”

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adhesive vinyl, Zoot Coffee, Camden, ME

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There can be an almost trivial quality to the minutiae of our lives and lists highlight

our repeated efforts to avoid forgetting. They show our limitations, as well as our

incredible ambition. They are an exhausting display of all that we aspire to do, or are

responsible for, and all that goes into attaining these goals. They break down and

make tangible larger arcs of accomplishment, and in this way, there is a purging or

cathartic quality to the lists. It is for our own sanity that we have a tactile reminder,

instead of letting our minds be burdened by the collective weight of our obligations.

Through this multi-layered community art project and exhibition, Adriane Herman

has created an evocative number of associations and has accomplished a great

deal. In addition to the sheer pleasure of getting to look at each other’s lists and the

visual intrigue of Herman’s many works, she has also created a sense of community

interconnectivity and public dialogue. Using novel artistic mediums, Herman

references our place in history through an invented lense of time, elevates significant

minutiae, and creates greater self-consciousness surrounding our daily doings. It is

hard to let these lists continue to escape our notice, so that be it your own or another’s,

what will you do next time you come across that old “to do” list?

Kelly Jackson Assistant Curator March 2008

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glo stix*, 2007,inlaid burnishing clay on wood,

26” x 28”

found list

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yogut, soap, milk, 2007,inlaid burnishing clay on wood,

9” x 27”

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Meat / Straws, 2007,inlaid burnishing clay on wood,

32 1/2” x 18”

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ADRIANE HERMAN’S LISTSRachel Epp Buller

Lists are the evidence of daily life. Grocery lists and to-do lists provide a written record

of those repeated and overlooked actions that fill each day, unwittingly defining an

individual’s quotidian existence. In her series on the theme of lists, Adriane Herman

works from found scraps of paper, elevating the detritus of every day life while subtly

raising issues of consumerism, domesticity, and divisions of labor.

In collecting discarded objects for her work, Herman continues a distinguished, if var-

ied, tradition of modernist art history, from John Chamberlain’s junk aesthetic sculp-

tures to Louise Nevelson’s found object soliloquies. Gathering scrap paper lists from

primarily anonymous sources, Herman lauds the objects not only by using them as

the inspiration for her work but also, like Nevelson, by transforming them into highly

aesthetic matter. Herman’s beautifully crafted pieces are the result of significant physi-

cal labor: she intensely works the surfaces of her clay-coated wood panels, inlaying the

image of the list, then polishing the surface to achieve a glossy, reflective coating.

The high sheen reflects the physical image of the audience, making them participants

in the work itself. But while it is the smoothly polished surface that initially draws view-

ers into Herman’s works, it is the list that keeps them there. Herman’s valuation of the

list speaks to the viewer by touching on commonalities of human experience. She cel-

ebrates the mundane, lending significance to what we do every day and affirming our

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& pay off debt..., 2007, inlaid burnishing clay on wood,

22 3/4” x 14 3/4”

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existence. She elevates the paper scrap itself, not just the list it contains, by showing the

whole found object, the entire shape with its torn or crumpled edges. In their printed

and polished transformation, the paper scraps visually evoke the chalkboards of yester-

year.

And yet, Herman’s work has a critical component, more than simply a recycling of scraps

or a commemoration of the ordinary. By elevating the list and what it contains, she

implicitly raises issues of gender and domesticity. The planning for a child’s birthday

party, as seen in the list of glo stix* (p. 27), or the shopping list for a knitting project, in

No Acrylic, are the realm of “women’s work.” Following the precedents of other feminist

artists, Herman’s valuation of the mundane serves as an implicit valuation of women,

giving worth to the unpaid, unseen work of domesticity. At the same time, the lists can

pose questions for the viewer: Are you, the viewer, who is literally reflected in the sur-

face, actually implicated in the work? Does this list speak to your existence? And if this is

not your work, why not? Who does the maintenance work of your daily life, if not you?

Herman’s use of found objects also questions our participation in a throwaway con-

sumer society. While some of her found lists are concerned with actions—chores to

do or books to read—many more involve the purchasing of goods. Although it would

be simplistic to read Herman’s recycling of found lists as equating a simple recycling of

goods, her re-use of the lists can easily be read through the lens of environmental con-

sciousness. The paper scraps, which Herman says are taken from her “growing collection

of ephemera,” are discarded objects, something used briefly then thrown away. As such,

the veneration of the paper scrap can function as a critique of consumer culture: the

nature of the scrap parallels much of the list’s ingredients, items that will be used for a

short while, consumed and discarded in our society’s ever-growing desire to binge and

purge acquisitions.

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Food Budget ($30.90), 2007,inlaid burnishing clay on wood,

21 1/4” x 13”

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T.P., DOG FOOD, SHROOMS . . . , 2007,inlaid burnishing clay on wood,

13” x 11 3/8”

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Time Management, 2007,inlaid burnishing clay on wood,

26 1/4” X 15”

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Lunch . . . Movie, Dinner, Drinks . . . Breakfast, 2007,inlaid burnishing clay on wood,

21” x 25 3/4”

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Organic Coffee, 2007,inlaid burnishing clay on wood,

14 1/2” x 12”

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mussels, garlic, herbs, 2007,inlaid burnishing clay on wood,

27 3/4” x 18 1/4”

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No Acrylic, 2007,inlaid burnishing clay on wood,

26 1/4” x 38 1/4”

opposite page: detail from raking angle

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artist and curator pore over lists submitted by members of the community

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ARTIST’S STATEMENT

Overarching Aspirations:

With the “Checking It Twice” project I aimed to expand the gallery into the broader com-

munity and bring evidence of the lives lived within and beyond that community back into

a fine art space where it could be examined and discussed in a place designed to foster

critical dialogue. The conversations precipitated by my being out for prolonged periods

of time in public spaces -- first to install vinyl decals re-presenting appropriated “to do”

lists and other assorted ephemera, then to make rubbings from the decals -- exceeded

anything I might have anticipated. Passers by provided a provocative range of responses:

questions, comments, and suggestions of books to read and websites to visit, including

one offering a service that will archive and recite or email back to you reminders about

things to do that you phone in.

Resultant Works:

Studying other people’s “to do” lists allows me to trace the seemingly alchemical trajectory

from intention to action. I grow increasingly receptive to mentorship from known and

anonymous sources through a conduit of found and sometimes gifted scraps of paper.

Currently, I monumentalize selections from my ever-expanding collection of ephemera

by combining additive and reductive drawing and printmaking techniques with ceramic

media. I utilize this labor-intensive process of inlaying then polishing burnishing clay to

re-present evidence of human commitments, tastes, priorities, accomplishments, and pro-

crastinations.

While I hope to bring to these intimate yet anonymous details about people’s lives the

kinds of intensive attention paid to objects in environments that imply their contents have

cultural value (such as museums), I also strive to insert art into the paths of people who

did not necessarily seek it out. Toward that end, I install adhesive vinyl enlargements of

discarded lists and notes on windows in public spaces. These decals double as matrices

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from which I “pull” graphite rubbings that document the form and content of temporary

artworks destined to be scraped off windows and discarded. Like the inlaid burnishing

clay tablets, the rubbings attempt to highlight the mundane and fix the fleeting.

Looking Back / Looking Ahead:

The closing date of this exhibition marks a beginning rather than an end, as the cache of

raw materials amassed and displayed on the staircase will shift from the gallery back to the

studio. While the vinyl decals generated from found, gifted, and traded lists will be scraped

off the windows where they were generously hosted by the Rockland Public Library; Zoot

Coffee (Camden); Chase’s Daily Restaurant (Belfast); Center for Maine Contemporary Art

(CMCA) in Rockport; and Maine Media Workshops (Rockport), the rubbings serve to docu-

ment the presence of these humble documents in highly trafficked public locations.

I am deeply grateful to the entire staff of CMCA, present and past. Abundant thanks go to

Assistant Curator, Kelly Jackson, a tireless advocate for this project who encouraged me to

envision a more ambitious and cohesive set of products and processes than I would likely

have hazarded in a more “self-serve” installation space. Without her deft comprehension

of what might happen in the community as well as the gallery (and her bullet-pointed and

illustrated to do lists), far less would have gotten done and now be poised to happen.

Other individuals and institutions who/that made this project possible include: Brian

Reeves, Damir Porobic, Tim Young, Greg Dismore, Jenny Little Dow, Gwen Allen, Rachel

Epp Buller, Fast Signs of South Portland, Maine College of Art, and The Maine Arts Commis-

sion, which supported “Checking it Twice” with a Good Idea Grant. Finally I am profoundly

grateful to everyone who offered a list to the project or put it on a list of things to get done

and may not have gotten to it yet. (There is still time to cross that one off . . . .)

Adriane Herman

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adhesive vinyl installed at Zoot Coffee, Camden, ME

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Adriane Herman P.O.Box10011•Portland,ME.04104•(207)272-0863•adriane@slopart.com

Education

1997 M.F.A., University of Wisconsin-Madison.1988 B.A., Smith College, Northampton, MA.

Solo Exhibitions

2008 Human Doings, Western Exhibitions, Chicago, IL. Sticky Situations, Whitney Art Works, Portland, ME. Suburban: Wichita Division, Ulrich Museum of Art at Wichita State University, Wichita, KS.2007 Checking It Twice, Center for Maine Contemporary Art, Rockport, ME. Baggage Claim, Davis Museum (Davis After Dark), Wellesley College, Wellesley, MA.2005 Mixed Baggage, Western Exhibitions, Chicago, IL.2002 Palette Cleanser, Rowe Gallery, University of North Carolina, Charlotte, NC.2000 Sampler, Kansas City Artist’s Coalition, Kansas City, MO.1999 á la carte, Adam Baumgold Gallery, New York, NY. 1998 Mixed Media and Other Recipes, Slop Art Shop, Kansas City, MO.1997 Adriane Herman: Works on Paper, Wakeley Gallery, Illinois Wesleyan University, Bloomington, IL.

Selected Group Exhibitions

2008 Ruminant, Institute of Contemporary Art, Portland, ME. Contemporary Collaboration: Artist and Master Printer, Portland Museum of Art, Portland, ME. New Prints, 2008, Autumn, International Print Center New York, New York, NY. locate l navigate, Urban Culture Project, Kansas City, MO. 2008 Biennial Juried Exhibition, Center for Maine Contemporary Art, Rockport, ME Heroes, Lump Gallery, Raleigh, NC. The Crossing of Time and Environment: Microinstallations, chosen barren land, Tainan, Taiwan.2007 Falun Triennial 2007 - Contemporary Print Art, Dalarnas Museum, Falun, Sweden. Text Messages, Adam Baumgold Gallery, New York, NY. 2007 Portland Museum of Art Biennial, Portland, ME. Looking Homeward: A Century of American Art, Herbert F Johnson Museum of Art, Ithaca, NY, ebayaday, cyberspace, with documentation exhibited at Slusser Gallery, University of Michigan. From Phat to Flat, Arts Incubator, Kansas City, MO. Heroes, Bryce’s Barbershop, Olympia, WA. Tiny, Whitney Artworks, Portland, ME.2006 Humor Me, H&R Block Artspace at the Kansas City Art Institute, Kansas City, MO. Biennial 2006, Center for Maine Contemporary Art, Rockland, ME.

52 adhesive vinyl installed on front window of Chase’s Daily, Belfast, ME inset: source list

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2006 LandEscapes, Beech Hill Farm, Mount Desert Island, ME. 2005 RG ReSolutions Presents: thinking small, The Map Room, Portland, ME. Domestic Policy, Corcoran Museum of Art, Washington, DC. Eat Sugar, Spend Money, Newsense Gallery, Cincinnati, OH. The Boston Printmakers North American Print Biennial, 808 Gallery, Boston University, Boston, MA Long Overdue: Book Renewal, Portland Public Library, Portland, ME.2004 Against Tradition: Trends in Contemporary Printmaking, University Art Gallery, Indiana State University, Terre Haute, IN. Print Language as Content, Mason Gross School of the Arts, Rutgers, University, New Brunswick, NJ. Slop Art Supermarket, Center on Contemporary Art, St. Louis, MO (co-curator); traveled to: Plymouth State College, Plymouth, NH; Univ. of No. Iowa, Cedar Falls, & St. Mary’s College, Notre Dame, IN. This Thing We Do, Western Exhibitions, Chicago, IL. She Said, Susan Teller Gallery, New York, NY2003 Aaron Van Dyke Plus Adriane Herman, Western Exhibitions, Chicago, IL. The 2nd Annual Stray Show, (Western Exhibitions) Chicago, IL. Manifest 2003, Copley Society, Boston, MA. Multiple Perspectives: Critical Dialogue in North America, Wellesley College, and Mass. College of Art 29th Bradley International Print and Drawing Exhibition, Bradley University , Peoria, IL2002 Resisting Categories: Prints, The Baird Center, South Orange, NJ. Double Visions, Adam Baumgold Gallery, New York, NY. ‘Zine Scene, Cranbrook Art Museum, Bloomfield Hills, MI. Otto Artisti Americani, Il Quadro di Omega Gallery, Rome, Italy. Out of the Nursery, Byron Cohen Gallery, Kansas City, MO.2001 Sensitized Shopping, Silicon Gallery, New York, NY. 29th Bradley National Print and Drawing Exhibition, Bradley University, Peoria, IL. Digital: Printmaking Now, Brooklyn Museum of Art, Brooklyn, NY. Musings: Contemporizing Tradition, Gallery 312, Chicago, IL. Works On Paper, (Adam Baumgold Gallery), The Armory, New York, NY. Poptones, Shaw and Hofstra, Kansas City, MO. Summer 2001, Adam Baumgold Gallery, New York, NY. Kansas City Flatfiles 2001, Project Room, H&R Block Artspace at the Kansas City Art Institute. Simulation, Redefining Medium, Stocksdale Art Gallery, William Jewell College, Liberty, MO.2000 Pop and After 1965-2000, Beth Urdang Gallery, Boston, MA. Quirky, Adam Baumgold Gallery, New York, NY. Roto and Slop, Slugfest, Austin, TX. Supermarket 2000, Hiestand Gallery, Miami University; The Pumphouse, La Crosse, WI. Frank Center for the Arts, Shepherd College, Shepherdstown, WV. Kansas City Flatfiles 2000, Project Room, H&R Block Artspace at the Kansas City Art Institute.1999 1999: Contemporary Trends in Sculpture, Albrecht-Kemper Museum, St. Joseph, MO.

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1999 New Work, Adam Baumgold Gallery, New York, NY. Color Theory, College of Visual Arts Gallery, St. Paul, MN. Supermarket 1999, Slop Art Shop, Kansas City, MO.; Dishman Art Gallery, Beaumont, TX. Directions in Contemporary Printmaking, Carlsten Art Gallery, University of WI- Stevens Point. Shoplift!, Acme Art Co., Columbus, OH.1998 Between Nature and Culture: American Prints, Jyvaskyla Art Museum, Finland. 1997 Shape Shifting: Transformations in the Art of the Book, Chicago Center for Book and Paper Arts. Giftland VI: Consumption, Printed Matter, New York, NY. Truth and Sickbed, 1331 Union Gallery, Kansas City, MO. Supermarket 1997, The Old Post Office, Madison, WI. Book as Art VIII, National Museum of Women in the Arts, Smithsonian, Washington, DC. 1995 The New Geometry, The Center for Book Arts, New York, NY. Scene at a Place and Time, The Print Club, Philadelphia, PA. Grants

2007 Good Idea Grant, Maine Arts Commission.2000 Avenue of the Arts Foundation, site-specific, temporary public commission, Kansas City, MO. Year 2000 Grant, Charlotte Street Fund, Kansas City, MO.

Permanent Collections

Adobe Systems, San Francisco, CA. American Century, Inc., Kansas City, MO. The Art Institute of Chicago, Chicago, IL. C.K. Metals, Philadelphia, PA. DST, Inc., Kansas City, MO. Hallmark Cards, Inc., Kansas City, MO. The Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY. Joan Flasch Artists’ Book Collection, School of the Art Institute of Chicago. Kohler Art Library, Madison, WI. The Progressive Corporation, Cleveland, OH. The Nelson-Atkins Museum of Art, Kansas City, MO. The Spencer Museum, The University of Kansas, Lawrence, KS. Sprint, Inc., Overland Park, KS. Walker Art Center, Minneapolis, MN. Whitney Museum of American Art, NY.

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back cover: Vegan [Dennis Kucinich] Ice Cream, 2007,graphite rubbing of vinyl decal installed outside Chase’s Daily, Belfast, ME,

39 1/8” x 37 1/4”