2016 - PRESENT
2011 - 2015


A Rock, A Rock Painted to Look Like A Rock in Zzyzx, 2017
Inkjet print mounted on wood; screenprint, acrylic and joint compound on canvas; 8” circular fluorescent light; steel; rock (natural appearance – small – lightweight – easy to install); spraypaint on wood
with audio from (in order of appearance):

Hanno Falk (Published on Nov 15, 2009),
Dave Lancaster (Published on Mar 15, 2014),
Wonder Hussy (Published on Mar 5, 2017),
AdventureVanMan (Published on May 4, 2017),
Centepede Soup (Published on Feb 4, 2013, Featuring Dr. Curtis Howe Springer),
Guardianon (on November 30, 2015, Verified Purchase, as narrated by Joey),
Dianaon (on March 14, 2016, Verified Purchase, as narrated by Joanna),
adamthewoo (Published on Nov 30, 2015),
Amazon Customer (on April 20, 2016, Verified Purchase, as narrated by Kimberley),
Mike Satterfield, (Published on Dec 7, 2016),
J Deomano (Published on Aug 7, 2015),
J. Doyle (on March 10, 2017, Verified Purchase, as narrated by Joanna),
Mike Spencer (Published on Oct 23, 2008),
Jim Elster (Published on May 25, 2012),
No fluff (on July 28, 2016, Verified Purchase, as narrated by Joey),
Gray Traveler (on August 22, 2017, Verified Purchase, as narrated by Kendra),
Jennifer (on August 4, 2017, Verified Purchase, as narrated by Salli),
Carol (on October 14, 2013, Verified Purchase, as narrated by Kendra),
Faux Beams And Panels (Published on Jan 5, 2016)

87.5 to 107.9, 530 to 1710, 2017
Fluorescent lights, steel, arduino & relays, sandbags, 56.25” x 60” x 120”

White noise, more white noise, more white noise. He tries the AM bands, then the FM. Nothing. Just that sound, like the sound of starlight scratching its way through outer space: kkkkkkkk. Then he tries the short-wave. He moves the dial slowly and carefully. Maybe there are other countries, distant countries, where the people may have escaped. . . They wouldn’t have escaped though.

- Margaret Atwood, Oryx and Crake

As floodwaters rose, (Jay) Fink interrupted the regular Sunday programming on WRIP-FM (97.9); instead of a classic Casey Kasem countdown, listeners found Mr. Fink — beginning what would be a 13-hour on-air marathon. He calmly fielded calls from people trapped by the surging waters and doled out information on makeshift shelters.

- Susanne Craig, “Radio D.J. in the Catskills Offered a Lifeline During the Storm”, The New York Times, September 4th, 2011

On November 2nd, 1920 (ninety-seven years and one day before the initial presentation of this work) the world’s first commercial radio broadcast was heard on KDKA Pittsburgh, known then as 8ZZ. Utilizing technology developed by engineer and enthusiast Frank Conrad just a few blocks from the exhibition venue, the voice of Leo Rosenberg relayed presidential election results to a rapt local audience before the arrival of the next morning’s newspaper. It was, at the time, a historically speedy conveyance of information.

Today when the radio dial in the car scans endlessly, looping back and forth from 87.5 to 107.9 to 87.5, it indicates that one is “out there”, isolated, driving incommunicado. When the radio signal is removed, it is a sign of distress or dislocation. Witness the jarring tone of the Emergency Broadcast System, a monthly cold war hangover injected into the home. This losing-the-signal has become a trope of post-apocalyptic fiction, a metaphor for societal disintegration epitomized by the absence of pop-connectivity. No more news and weather on the tens. No more top 40. No more pledge drives. This removal of information becomes a slowing, a breakdown, a reversion to an uncomfortable pre-technological age.

87.5 to 107.9, 530 to 1710 explores the space of this breakdown. Interrogating the aesthetics of radio both historically and in speculative post-apocalyptic futures, this work examines removal of the lifeline provided by terrestrial broadcast. Utilizing the format of the digital display, an efficient form capable of replicating the English alphabet, select punctuation, and digits 0 - 9, 87.5 to 107.9, 530 to 1710 presents relics of radio in an imagined future.

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This work was supported in part by funding from the Carnegie Mellon University Frank-Ratchye Fund For Art @ the Frontier.

WRITTEN NAMES, A fanzine dedicated to occurrences of localized, unsanctioned public name writing.

Issue #1: WRITTEN NAMES #1: Names Written in Nails Embedded in Railroad Ties, Cambridge, Massachusetts.
Photocopy and three-color Risograph, 20 pages, 9.5" x 6.5", September, 2016

Issue #2: Names Written in Rocks Along Rt. 66, Amboy, California.
Photocopy and two-color Risograph, 20 pages, 9.5" x 6.5", Edition of 100 or so, October, 2016

Issue #3: Names and Dates Carved into Bamboo, San Marino, California.
Photocopy and three-color Risograph, 20 pages, 9.5" x 6.5", Edition of 100 or so, November, 2017

WRITTEN NAMES #4: Initials Carved into Cacti on Enchanted Rock, Llano County, Texas.
Photocopy and two-color Risograph, 20 pages (some laser-cut), 9.5" x 6.5", Edition of 100 or so, December, 2017

103.5 FM, Brady’s Bend, PA, 2017
A subterranean radio network broadcasting competing apocalypse survival shelter advertisements on three FM transmitters. As the audience walks through and around the transmitters and receivers, their bodies block and disrupt the broadcast of each track, allowing the various narratives to overlay, dissolve and intermingle. The radio transmission was available on 103.5FM only while underground in a Western Pennsylvania limestone mine.
(Made in collaboration with KR Pipkin)

- ME . . . . * 1960_ 9 . . Cambridge, Massachusetts, 2017
Two-color risograph in artist’s frame, vinyl and spray paint on wooden panel, steel and brass hardware, wooden handle, motor, rubber bands, zip ties on wood and steel armature. 7” x 25” x 5.25”
with audio from (in order of appearance):

Art Deadlines List (Published on Dec 9, 2007 & Jan 22, 2008),
Jph0917 (edited 21:02 & 21:06, 23 April 2009, as narrated by Joanna, Justin and Joey),
Chris Rich (Published on May 15, 2013),
Anonymous (1960, as narrated by Joanna, Justin and Joey)
The Watertown Bicycle Committee (4/24/2009, as narrated by Joey), (Last update: 1/2010, as narrated by Joanna and Justin)

Rt. 61 (Destroyed), 17927, 2017
Inkjet print in artist’s frame, risograph, screen print, vinyl, wood, spray paint, misc. hardware, steel, motor, zip ties. 34" x 6.75" x 10.5" with audio from (in order of appearance):

JMR Spartan (Published on Jun 5, 2016),
Aaron Burt (Published on Apr 23, 2017),
Rob Sellig (Published on May 31, 2016),
ClawBoss Adventures, (Published on Jun 6, 2016),
Chasing News (Published on Jun 27, 2016),
lolitsLEA official (Published on Mar 26, 2016),
AV8R Dave Truskowsky (Published on Nov 16, 2014),
Christopher Reichert (Published on May 21, 2017),
The Carpetbagger (Published on Aug 6, 2016),
JPVideos (Published on Nov 27, 2016),
A Haunted Paradise (Published on May 1, 2017),
Jacob Smith (Published on Jan 19, 2016)

World's Largest Truck Stop, Interstate 80, Wallcot, IA, 2016
Screen print, acrylic and joint compound on canvas, 18.75” x 11.75”

Abraham Lincoln is as near to a secular deity as America possess. His likeness has become both ubiquitous, with over 9 billion one-cent pieces minted in 2015 alone, and highly disposable, as in the mildly popular form of the squished commemorative penny. This low form of souvenir operates as a print-on-demand memento and keepsake, as well as a desecration of presidential portraiture. Its creation at once destroys the monetary value of the coin, while simultaneously imbuing it with the nostalgia of tourism. Available at rest stops and gift shops, these pennies commemorate visits to everything from the banally grand “World's Largest Truck Stop - Route 80, Indiana” to the death of “Ford’s Theater” and “The World Trade Center,” imposed upon Lincoln's quotidian bearded profile.

World Trade Center, New York, NY. Montvale Rest Stop, Garden State Parkway, Montvale, NJ, 2016
Screen print, acrylic and joint compound on canvas, 11.25” x 18”

Liberty Bell, Reading Terminal Market, Philadelphia, PA, 2016
Screen print, acrylic and joint compound on canvas, 11.75” x 22”

Ford’s Theater Commemorative Squished Penny, Maryland House, Interstate 95, Aberdeen, MD, 2017
Acrylic and enamel on canvas with joint compound, on wooden stand. 43” x 80”

Forum Novelties Inc. Item # 63767 (Lincoln), 2017
Plastic mask with 16 minute audio, 7.75” x 12.25” x 6”.

Immobile Mobile for Eight Hanging Banners, 1975 - Present
Alexander “Sandy” Calder (American, 1898 – 1976)

Collection of Equity Commonwealth
Commissioned by Jack Wolgin

Shortly before his death in 1976, Alexander “Sandy” Calder was invited to create a series of large, colorful banners for a new development at 1500 Market Street. Along with Claes Oldenburg’s Clothespin and Jean DuBuffet’s Milord La Chamarre, Calder’s banners were commissioned for Centre Square as part of the Philadelphia Redevelopment Authority’s Percent for Art Program. After several years on view in the lobby, the banners were removed in the early 1980s, ostensibly for cleaning, stored in plastic bins, and subsequently lost somewhere in the office building. They were rediscovered and temporarily re-presented at the Free Library in 2009.

Immobile Mobile for Eight Hanging Banners was originally fabricated as a steel mobile armature from which to hang Calder’s banners, but was moved to the Centre Square parking garage after being deemed too heavy for the atrium roof. The banners were ultimately displayed using an alternative hanging method. Indicative of the artist’s signature bent-wire forms, the work is in many ways more representative of the artist’s oeuvre than the banners it was designed to support. Sitting since 1975, the sculpture has served as a permanent space-saver in a second level sub-basement parking garage purgatory.

Immobile Mobile for Eight Hanging Banners rests today as an obstacle. It inhibits retrieval of a 16’ ladder and encumbers access to pallets of paving stones. It once fell victim to a wayward yellow paint striping crew and has witnessed a boxed-wine-fueled bacchanalia or two. It is an immobile mobile amongst the automobiles.

(Immobile Mobile for Eight Hanging Banners is in collaboration with Leah Mackin as DBQ)

"B", Donora, PA, 2016
Vernacular markings in Donora, Pennsylvania serve as the impetus for an investigation of a fatal 1948 weather inversion.

USXB // The Fog, 2016
Framed serigraph on Inkjet, Framed serigraph on photocopied excerpt of Berton Roueché's "The Fog," The New Yorker, September 30, 1950 P. 33 - 34, steel shelf.
26.5" x 14.5"

Foggy "B", Donora, PA, 2016
Inkjet Print
19" x 13"

"B" Inversion, 2016
Enamel, sprayed latex, sprayed acrylic on canvas with steel
27" x 52"

A Transcription of the Joncaire Street Steps, 2015

In anticipation of the purported demolition and replacement of the Joncaire Street Steps in Pittsburgh’s Oakland neighborhood, DBQ presents A Transcription of the Joncaire Street Steps. Equal parts archive and crowd-sourced poem, this publication records the marks that have been made by some of those who have traversed the 136 steps connecting Panther Hollow to Central Oakland.

Described by a PennDot spokesperson as “deteriorated”, the Joncaire Street Steps are one of over 700 sets of municipal stairs connecting sections of Pittsburgh too steep for vehicular traffic. The City of Pittsburgh has received $384,000 of federal funding from the Transportation Alternatives Project (TAP) to replace the Joncaire Street Steps, with plans to to begin construction in 2016

On Friday, November 20th, DBQ hosted a publication release event on the Joncaire Street Steps. In conjunction with the event, related readings from the nearby Carnegie Library of Pittsburgh were collected to form the second volume of another DBQ project, Open Stacks. The books were available for visitors to peruse during the reception.

(A Transcription of the Joncaire Street StepsIn collaboration with Leah Mackin as DBQ)

8 pages, 2-color risograph, 5.75" x 7.375", Edition of 200.
$5.00 - U.S. orders only, ships without an envelope - just a stamp on the back. Send a copy to a friend too!
Planned Parenthood of Western Pennsylvania, The ACLU of Pennsylvania, and The Southern Poverty Law Center.


Steven Zevitas Gallery
Guerrero Gallery