Products

"How do you spend money?"
"What do you do with your time?"
"How do you talk to the people you love?"

Handpainted vintage t-shirt asks the modern question that we all fear. What we like about this one is that even though it's an intimidating phrase, the Fat Albert-esque vibe of the lettering tempers that quality.

Measurements (taken lying flat):
Chest (armpit to armpit) = 23"
Length (rear collar to hem) = 29.5"
Shoulders (seam to seam) = 21.5"
Sleeve (seam to hem) = 8"

NB: Each garment varies. Any anomalies should be understood as part of the design, not as errors.

"How do you spend money?"
"What do you do with your time?"
"How do you talk to the people you love?"

Handpainted vintage t-shirt asks the modern question that we all fear. What we like about this one is that even though it's an intimidating phrase, the Fat Albert-esque vibe of the lettering tempers that quality.

Measurements (taken lying flat):
Chest (armpit to armpit) = 21.5"
Length (rear collar to hem) = 27.5"
Shoulders (seam to seam) = 19"
Sleeve (seam to hem) = 7.5"

NB: Each garment varies. Any anomalies should be understood as part of the design, not as errors.

"How do you spend money?"
"What do you do with your time?"
"How do you talk to the people you love?"

Handpainted vintage t-shirt asks the modern question that we all fear. What we like about this one is that even though it's an intimidating phrase, the Fat Albert-esque vibe of the lettering tempers that quality.

NB: Each garment varies. Any anomalies should be understood as part of the design, not as errors.

"How do you spend money?"
"What do you do with your time?"
"How do you talk to the people you love?"

Handpainted vintage t-shirt asks the modern question that we all fear. What we like about this one is that even though it's an intimidating phrase, the Fat Albert-esque vibe of the lettering tempers that quality.

Measurements (taken lying flat):
Chest (armpit to armpit) = 24.5"
Length (rear collar to hem) = 28.25"
Shoulders (seam to seam) = 22"
Sleeve (seam to hem) = 8.5"

NB: Each garment varies. Any anomalies should be understood as part of the design, not as errors.

Midi skirt with lovely draping, waist ties if needed/wanted, size zip closure.

A light denim that feels like a pair of relaxed trousers. Medium rise, wide leg. Unisex.

Edie is a US 2 and wears the XSmall.

Stretch mock-neck t-shirt, hits at waist. With photographic print pattern.

A form-fitting top with mesh underlayer and stretch top layer, draped and curved to fit the body.

A form-fitting top with strategic, draped peek-a-boos that may be adjusted for comfort level, and draped mock neck.

Morgan Fisher (CA) is a filmmaker and visual artist. His body of work has dismantled the process and artifice of filmmaking, even as it further presents avenues for critical dialogue around the avant-garde and conceptual histories of visual representation. His concerns have followed the changing trajectory of culture, as the medium shifts, and as new forms of language and expression become prominent. But always with a logic behind the exposition - whether through self-imposed (or not) rules, the uses of technology, and the limits of the vehicle. There is perhaps no filmmaker that better elucidates the imperative of medium as content and content as medium. But with such a sense of irascible pleasure, too. No tone of pedantry, only a kind of joy one gets from a set of instructions well given and gladly followed.

For further exposition, and insight into style, see Yale Union's (Portland, OR) program Andersen & Fisher (strictly on the filmic works of Fisher and Thom Andersen).

Writings is Fisher's work from 1975 to the present, on his own films, paintings, the work of others (Carl Andre, Andy Warhol, Blinky Palermo, Ad Reinhardt, Edgar G. Ulmer, Alfred Hitchcock), transcripts, and narrations. With a highly detailed bibliography 1969-2012 and biography 1974-present. 

A text is spoken; it merges the sphere of ideas, from which it comes, with an immediate and sensible sphere of bodies that give life to them, with a nature that sustains these bodies, and that they in turn nourish by naming it. The body, in which language resonates, becomes the body of the text itself and protracts its speaking.

Here trees are trees and become trees. We learn by taking pleasure in the sublime essence of colors (leaf-green, earth-brown, sky-blue, bronzed-skin...), of timbres (voices, birds, steps...), of textures (flesh, fabric, earth...), the irreversibility of gestures. 

These shots are rich in their concerted poverty: here’s how. 

—Anne Benhaïem from introduction to "Conception of a Film"

This tank top features contrasting scarf panels to the ribbed body, that can be buttoned in a variety of ways. Form fitted, draped, asymmetric, or straightforward.

Tricks of the eye are afoot. A tank suspended in mid-air, as if it were floating. Matching the curves of one's shoulder, the invisible straps hold the garment securely atop the body. Finally, the illusion of pure magic.

Tricks of the eye are afoot. A tank suspended in mid-air, as if it were floating. Matching the curves of one's shoulder, the invisible straps hold the garment securely atop the body. Finally, the illusion of pure magic.

The new, oversized aviator, make from fully faux shearling and leather. Buckles at the neckline. A semi detachable extended hood panel attaches with a ton of snaps. Use them to give some unusual pleats and sculptured moments, alternating the snaps, or doing them completely on one side, for instance. The entire piece is yours to customize. Unisex. Four sets of pockets. Very warm. Oversized. Unisex. 

(Text below from New Documents)

Some years ago, Will Holder and Alex Waterman proposed to Robert Ashley that musicians and non-musicians might produce new versions of his operas, by way of typographical scores. The bulk of this book is a result of that proposal: scores for Dust (1998) and Celestial Excursions (2003). These operas' characters have, until now, been solely produced by and are the stories exchanged between Ashley and his "band" (singers Sam Ashley, Joan La Barbara, Thomas Buckner, and Jacqueline Humbert); in landscapes (technological, imaginary, acoustic, organisational, sonic, ocular) produced by "Blue" Gene Tyranny, Tom Hamilton, David Moodey, Cas Boumans, and Mimi Johnson—the result of a 30-year relationship. As such, any "scores" were written for this intimate readership. It hadn't been considered that any one outside this "band" might produce this work.

The scores for Dust and Celestial Excursions are preceded by a selection of Ashley's work, from 1963 to 2008, drawing attention to the varying relations between instruction and score, and the tones of instructional address. Working with these scores gave us a better sense of how each one produces a specific mode of decision-making, telling us what to put on the pages of the scores, for any reader who follows.

Yes, But Is It Edible? is the fourth in a series of publications produced with or by Will Holder and Alex Waterman that address a musicological perspective on scoring speech and the role of printed matter in collective forms of reading and writing: Agape (Miguel Abreu Gallery, 2007); Between Thought and Sound (The Kitchen, 2008); and The Tiger's Mind (with Beatrice Gibson; Sternberg Press, 2012).

Co-presented with the Western Front, Vancouver. Edition of 2000.

Life-like floral drops on handformed twigs. Sterling silver posts. Approximately 3" long.

Made from brass, this bracelet is entirely handformed. Faces, faces, faces. Humorous, theatrical, and weirdly understated, if that makes sense.

Made from brass, this bracelet is entirely handformed. Darkly humorous, theatrical, and weirdly understated, if that makes sense. 

Made from sterling silver, this bracelet is entirely handformed. Darkly humorous, theatrical, and weirdly understated, if that makes sense. 

Stretch lace trousers that feel like sweatpants, they're so comfortable. Structured ruffle hem, wide elastic waistband with drawstring. Two side pockets, one rear.

Hayley is a US 4 and wears the Small.