Moon Landing!!

Available in an edition of 6, numbered and signed. 9" x 14" on archival paper.

$65

Rob Faucette

last minute details

Hey there, New Moon folks!

The day approaches, and I can't wait to see the show installed.

Michelle and I are both excited about everyone's work in this show!

Here's a splattering of last minute details:

Weather (not as warm as you think!):

- daytime wind (pleeeeze STOP IT!), upper seventies, maybe 80 degrees.

- nighttime mid 50's! we'll have a campfire, but it gets cold!

BYOB and donations accepted.

Food:

The food provided is Saturday afternoon BBQ and Sunday bluegrass brunch (coffee too, of course). There will be vegetarian options. Friday eve will be a potluck, so bring something to share and your own coolers and ice; my fridge will be PACKED!

Sound Bath:

The Integratron has been reserved for our New Moon people privately at 2:30pm Sunday for a sound bath, with a special price of $20 each. The space can accommodate 50 people. For those wanting the experience earlier and cheaper, there is a public sound bath open at 11am. If you missed this last year, it is AMAZING and a great way to end the weekend. It's about 10 minutes from my place. more info: http://www.integratron.com/

Campers:

- bring coolers and food and drinks

- it's snake season, zip your tents

- bring a towel and swimsuit for sunbathing and outdoor showering and horse tubbing if weather permits

I'm very much looking forward to seeing all of you under the New Moon!

If you have friends attending and camping please forward this information to them.

(insert coyote howl here)

Drew

El Andalus Clips/Cordoba

El Andalus Clips, 2008, Christian de Lutz video still

El-Andalus clips, (2008) is a video made up of five short clips, all under two minutes. The clips exist as stand alone works, or together. Three include recitations of a text collage based on excerpts of blogs written by migrants from the Near East. The narrator stumbles across the English text. Combinations of takes and linguistic breakdowns are used as an editing device for the visual images, collected excerpts of footage from southern Spain - the ruins of a Moorish fort, the view across the straits of Gibraltar, architectural details from Alhambra - which refer to Europe's old cultural connection to the Near East. Image and text, unrelated in origin, combine and influence each other's form to elicit new meanings and relations.


Cordoba, 2005-6 Christian de Lutz video still

Cordoba (2006) was filmed in the Mezquita of the Spanish city of Cordoba. Filmed at slow speed, the crowds of visiting tourists appear as phantom-like blurs. The audio track features a woman’s voice reading text fragments taken from online journals (blogs), written by immigrants from the Near East. Medieval Cordoba was a vibrant multicultural center. The architectural remnants of this era contrast with the melancholy words of homesickness and estrangement in the script, as if to imply that only in the virtual world of the internet can occident and orient peacefully co-exist.

In combination the two videos, shown in the Southern Californian desert pay homage simultaneously to millennia of migration between North Africa and Europe and the 16th and 17th century settlers of Southern California, many of them 'Moriscos' from Andalucia, who were deported to the New World
-Christian de Lutz, June 2011

Danielle McCullough and Gabie Strong invite you to BLAST SITE, our encampment at Shangrila: New Moon

Blast Site is a a collaborative installation between artists Danielle McCullough and Gabie Strong that calls upon the process of tracing light and time in both photographic and sculptural form. It will be an outdoor piece consisting of a multi-paneled structure for the high desert, invoking both the ancient and the new. It serves as a sculpture and an environment, functioning as a working sunshade in the daylight, while at night serving as a 16mm projection surface.

Blast Site is an imagined remnant of mythic global disaster, in which the cyanotype is used to document traces of history. Similar to shadows forever cast on pavement from the effects of an atomic blast, the process of cyanotype sun printing draws apparitions of time to render a silhouette in a sea of blue.

Through the process of making large format exposures from charcoal rubbings of industrial wood pallets and clippings of succulent, fennel and lavender, we have created unique patterns of the industrial and the natural on a cyanotype fabric. This faded blue and white fabric is stretched over interlocking hexagonally shaped panels to complete our design for a sculptural sunshade and post-apocalyptic survival campsite. The descriptive geometry of our sunshade allows for hard-edged shadows of multiple angles to fall across the desert plane, casting a virtual non-site underfoot, while the printed fabric promotes poetic imagery of the banal, industrial, and floral.

The Blast Site sunshade sculpture has an additional white panel feature that allows for 16mm film projection at night. Gabie Strong has created 16mm hand-colored abstract animations. When projected upon the sunshade sculpture, these animations present a living psychedelic color-field sensation in the darkness of night. In addition to our sculpture and films, Danielle McCullough

will complete a site specific drawing in clay slip and graphite, recalling the materiality of a defunct nuclear reactor in the form of an ephemeral ritual drawing.

Our Blast Site installation and supporting ephemera engage in a dialectical pull between future/past -- operating like a field guide for future failures. Our project invokes the mystery of the analog pressed against the digital and back again, folding into an otherwise modernist hard-edged geometric sculpture, while summoning the spirit of Helen Frankenthaler in a ritual invocation of automatism. Blast Site is a post-apocalyptic survival camp of science fiction and imaginary landscapes.

Moon Man Set to Land in Joshua Tree, Plant Flag

Moon Flag - Rob Faucette

There are six American flags on the surface of the moon, one for every Apollo landing and base that was set up during the missions to the moon.

The original flag cost $5.50, presumably off a Hardware store shelf. The team who engineered it operated in secrecy, as planting a flag on the moon in the first place was a delicate issue: the United States was side-stepping its own international treaty which "bans the national appropriation of outer space or any celestial bodies."

The waviness in the flag is a result of the faulty telescoping rod on the top, which the flag was sewn around. The astronauts struggled with getting the rod to extend all they way (you can see this in the footage) but did the best they could, hence the ripples in the flag.

Because NASA wanted all of the flags to have a similar look, they engineered the following telescoping rods for each remaining flag to have this flaw, which gives the flag the appearance of waviness.

At this point, there is speculation that the flags are now either bleached white by the sun or possibly were destroyed during the lift off of the lunar module(s).

To see them setting up the first flag:
http://www.youtube.com/watch?v=k1B2UPkelNw

For more on this, check out this article:
http://abcnews.go.com/Technology/Apollo11MoonLanding/story?id=8113235&page=1

-Rob Faucette

PRESS RELEASE

Shangrila is pleased to present New Moon, an exhibition that explores the notion of rebirth. The group show brings together works that investigate phases in cyclical phenomena and the conditions that surround change, expanding our understandings of the past, present, and future and challenging our perceptions of originality. The exhibition is produced by Drew Dunlap and is co-curated by Michelle Chong.

Calling upon the process of tracing light and time in both photographic and sculptural form, artists Gabie Strong and Danielle McCullough present an outdoor installation consisting of a multi-paneled structure for the high desert. The work, titled “Blast Site” is a dialectical pull between future and past, and operates like a field guide for future failures.

Jack Bangerter exhibits two pieces from his body of work titled “INFINITAS” that question the future and the effects of human actions. As pseudo scientific diagrams of space and time, they investigate elements of layering and process as well as the notion of mind over body.

Fascinated by the paradoxical activity of constructing a limitless expanse within a confinement, Taylor Tschider’s work titled “Inner-Galactic” complicates this idea by suggesting that outer-space epitomizes a lack of spatial limitation, and yet it is just as easily considered empty and lifeless.

Through drawing and collage and using found printed materials, Rashell George focuses on the stars that illuminate the sky when the moon isn’t visible. In her work titled, “The Best Intentions” smiles are depicted floating against a black background echoing stellar objects, while the title anticipates the future and a new beginning regardless of the outcome.

The collage pieces by Josh Rickards are a continuation of work using the contrived and static compositions found in older magazines and reconfiguring them to show displaced and sidelined individuals participating in the everyday.

Matt Lifson’s painting titled, “Moonboy” focuses on the function of representation of a representation of reality. His sculptural work “Fake Puke” is a further investigation of exposing the artifice of its own representation by repeating formal elements, pointing to the close proximity of the spectacle and the sensational.

Roni Feldman’s iridescent paintings explore tensions between abstraction and representation, individual and crowd, and utopia and dystopia. The ethereal nature of sprayed paint and multitudinous human features create a crystallographic repetition painting that causes the retina to vibrate. The effect acts akin to thought and memory that forms a crowd from disparate times and places, based on both rumination and reality.

Through a video made up of stills of different constellations fading into different photographs, Helen Cahng investigates the impulse to identify people and narratives in abstractions. The work further explores how folklore and myth are created by one's own perceptual associations based on personal subjectivity and memory.

The multi-media work by Drew Dunlap titled, "Specimen" presents Internet clip art, photocopies, and found objects as evidence to construct a myth of universal connectivity through recurring patterns.

Also focusing on naturally occurring cycles, Chris Oatey’s sculptural work transforms familiar materials to create objects that defy natural logic and at the same time address ideas of progression.

Veronica Duarte and Luis G. Hernandez have created an installation and tour by utilizing Joshua Tree’s historical data to develop stories in relation to cyclical patterns of events at Shangrila.

Christian de Lutz presents two video works that deal with the themes of migration and multi-cultural history and how they relate to current day events and patterns.

Bridget Kane’s multi-media piece "The Situation" is installed outside and incorporates the layer of the new moon being a part of the situation at hand. Kane is interested in engaging the viewer through subtle participatory roles in order to activate the work, and examining that relationship with how the materials work in a space.

Daniel Hope’s sculptures are part of an ongoing search for forms that embody a mode of relating between the physical and the metaphysical. Informed by formal investigations into transcendence found in modernist and ancient artworks, and following the lead of scientific forays into other dimensions, his sculptural drawings extend partly out of the relational framework of Art into the corporeal world, with the sole ambition of communion with the unknown of that world.

Sam Belkowitz’s photographs titled, “Euphoric Daydreams,” ask the question, how far must one go to find nothing? The pictorial elements allude to the fleeting moments in the cycles of life. By depicting euphoric light, explosions, and dark calm, the work aims to illustrate the window between heaven and earth…

“Joshua Tree’s Gilded Golden Door” might just be the door between heaven and earth. Created by William Adair as a tribute to Gram Parsons, a 1960’s American singer/songwriter who died in 1973, Adair visited the same room at the Joshua Tree Inn where Parson’s died. It was there in room no. 8 where the Golden Door was born and the rebirth of Parson’s spirit…

Rob Faucette’s installation aims to continue a fictional narrative of the moon's answer to the US moon landing. A photograph of the installation will be produced in a small edition, signed and numbered by the artist.

Michelle Chong’s image and text work engages science fiction and social commentary through narrative. Using landscape photography of Los Angeles, the work playfully creates a juxtaposition of reality and the absurd.

Nate Hess's computer animation is a pseudo-scientific psychedelic slideshow documenting the morphosis of the grey wolf to the domestic dog.

Kenneth Cowan has been documenting the nocturnal sounds of the Pacific Tree Frog-- the most common frog in the Western United States, and the only frog that makes a "ribbit" sound. Hundreds of thousands of these frogs are currently morphing from herbivore tadpoles to carnivorous frogs in LA County’s fertile woody canyons, many within walking distance from Los Angeles. By presenting these field recordings via boombox in an arid desert environment, Kenneth will be repping LA native wildlife in a hip hop style.

JACK BANGERTER - Artist

MA 2008 - Kunstakademiet i Oslo (National Academy of Art Oslo, Norway)
BA 2004 - Art History - Northern Arizona University Flagstaff, Arizona

Though best known in Boise, Idaho (my current location) for my bold plein air landscape watercolors I often create more conceptual work, which you will have the pleasure of seeing when you attend SHANGRILA 2011.

My work for this event is from my series INFINITAS. These pieces deal with a pseudoscientific theory about the progression of time. Particularly relevant is the role humanity plays in this progression as we create the greatest path of unpredictability when we choose one action over a variety of other actions.

AT EACH POINT IN TIME THERE ARE INFINITE POSSIBILITIES OF WHAT MAY OCCUR. ONLY ONE OUTCOME ACTUALLY OCCURS.

To see images of works from the INFINITAS series as well as many other projects visit jackbangerter.net

Sunshine