Interviews by Brainard Carey

Wendy Call at her desk, photo by John Froschauer, Pacific Lutheran University.

Wendy Call is a writer, editor, translator, and educator based in Seattle. She has served as Writer in Residence at two dozen institutions, including five national parks, four universities, two visual arts centers, a public hospital, and a historical archive.

She co-edited the craft anthology Telling True Stories: A Nonfiction Writers’ Guide and wrote No Word for Welcome: The Mexican Village Faces the Global Economy, winner of the Grub Street National Book Prize for Nonfiction.

Wendy’s writing has appeared in ten anthologies and more than fifty journals and magazines. Essays from her collection-in-progress, Grief Ephemera(l), can be read in LitHub and Yes!

Other essays appear at Guernica, Orion, and Witness. Her audio and video essays have been exhibited at national parks and art galleries in Florida and Washington, and her digital, map-based essay,  Squbeqsed Stories, lives online. Wendy co-produced (with Karen Werner) “You Will Not See Me Die,”which was broadcast on Australian National Radio in September 2017 and became the subject of a podcast interview with Ilan Stavans in February 2018.

Wendy teaches creative writing and environmental studies at Pacific Lutheran University in Tacoma. She was a 2015 National Endowment for the Arts Literature Fellow (for translation) and will be a 2018-2019 Fulbright Scholar in Colombia.

Wendy Call on the left interviewing Mexican-Zapotec hip-hop artist Antonio Lopez with co-producer Karen Werner. Photo by Aram Falsafi

Andrew Braddock performing "proshtasis"

Andrew Braddock was born and raised in Fredericksburg, Ohio. He currently lives in Brooklyn and makes performance and video work there. He serves of the board of directors for Antibody Corporation and is one of three proprietors of Salad Editions, an editioning and fabrication business.

Still from video, "induction"

Still from video, "field"

Cheryl Wassenaar is a visual artist who investigates language as a system of meaning that is dependent upon arrangement and context. She works primarily with found commercial signage, repurposing the discarded wood into visual metaphors of failed communication that borrow from the language of modernist painting, contemporary advertising, and technology.  Merging aspects of graphic design, painting, and sculpture, the work evokes visual stutters of sounds, ideas, and data.  She also works collaboratively with poets and other artists to create site-specific installations that use signmaker’s vinyl, manipulated objects, video and sound to activate environments (see this for video walk-through of Cleavemark Dr. at Fort Gondo Compound for the Arts, a collaboration with artist/poet Stephanie Ellis Schlaifer, whose work can be found here.)

Wassenaar earned her BFA from Calvin College in Grand Rapids, MI, and her MFA from the University of Cincinnati. Her work is exhibited nationally and internationally, appearing in over fifty group and solo exhibitions. Her corporate collections include Camden Real Estate headquarters in Houston; Fidelity Investments in Boston; and Urban Institute of Contemporary Art in Grand Rapids, MI. Wassenaar is currently represented by LongView Gallery in Washington D.C. She serves as associate professor in the Sam Fox School of Design & Visual Arts at Washington University in St Louis, Missouri.

See more of Wassenaar's work here.

Parlance, 30 x 33 x 5” reconstructed found commercial signage, Wassenaar

 

"When the Eye Saw it Appeared,” vinyl, metal twin bed frame, egg-yolked teacups, electrical conduit, Cleavemark Dr. collaborative exhibition, Wassenaar + Schlaifer, Fort Gondo Gallery, St. Louis, MO

Rosaire Appel is a digital artist/ photographer/ writer and analog draw-er. She explores (written) language as a visual entity. Word and image are like oil and water – agitation breaks boundaries. A post-information era requires strategies that evolve our methods of communication and expand our parameters of interpretation and understanding. Asemic writing is writing that has no semantic value, it cannot be translated verbally, it is not code, yet it is a visible language. Similarly, abstract comics are sequences of indeterminate images without traditional narrative value. She uses both of these, as well as asemic musical notation, to explore territories beyond established viewpoints.

Her investigations often culminate in visual books – one of a kind, limited editions and commercially printed - of which she's published over 30 titles. Her drawings and prints have been in many local and international exhibits.

In the interview she mentioned the book, Book from the Ground : from point to point, by Xu Bing.

Her forthcoming book will be from  Small Editions —several of her recent artists books, including Tapes, were in a recent exhibit there.

A page from “9 sonic malfunctions” 2018, published by Simulacrum Press / simulacrumpress.ca

Lisa Le Feuvre is a curator, writer, editor and public speaker. Since 2010 she has led the Henry Moore Institute, a centre for the study of sculpture. Committed to communicating and testing ideas, she has curated exhibitions in museums and galleries across Europe, worked as an educator in cultural institutions and universities across the world, with her writing published in international publications and journals. Currently she is researching the relationship between sculpture and prosthetics for a publication. This year at the Henry Moore Institute she has commissioned Aleksandra Domanović to develop a new body of sculpture, and is bringing to fruition an exhibition dedicated to Jirō Takamatsu.

Henry Moore Institute: ignition of Dennis Oppenheim's firework sculpture 'Mind Less Mind' (1975) in 2013

Henry Moore Institute: Rebecca Warren's 'Man and the dark' being installed, 2016