october 3-15



Patricia Brace and Rita Leduc are a collaborative duo who reposition their anxieties over time, place, and relationships through site-responsive performance-installations. For their exhibition at Public Address, Leduc will transform the gallery walls into a kinetic system that rejects its very purpose; if ever someone should touch the walls, they will shift, sway, and threaten collapse. On the walls are similarly precarious paintings. Only when “played” by Brace will the walls, and thus the paintings, obey. In her three public performances, experienced live both in person and on PA-TV, Brace will master the nine-walled instrument, conducting the flips and flaps into a musical score.


Push/Pull plays with the artists' roles as they navigate and innovate within pre-existing career, familial, and inter-personal structures. Push/Pull is Brace and Leduc’s first piece that unabashedly invites their respective backgrounds in dance and theatre design to inform - rather than passively influence - their artistic practice. However, while Leduc’s installation begins as a stage for Brace, it is soon revealed as the director, only to transform yet again into the instrument and, eventually, partner.


Push/Pull performances can be viewed on PA-TV.

september 5



w/MCs Alan & Michael Fleming

Public Address Television - Live


A nod to Baldessari Sings LeWitt, artists Alan & Michael Fleming host this karaoke event where participants are invited to sing lines from Sol LeWitt’s, “Sentences on Conceptual Art” to the tune of contemporary songs. The playfulness of the performance is evident through several juxtapositions that are at work. Similar to John Baldessari’s rendition, textual rhetoric is debunked from its original context; the clarity of its intent is challenged by melodic dictation. Where the Flemings deviate is within their display and utilization of karaoke to recite the sentences. When “Perception is subjective” is sung to Britney Spears’ Baby, One More Time ”—microphone in hand—it creates an incongruence between the statement and performance, while the bubble-gum-beat subverts the austerity of its prose.


Set against a “green-screen” backdrop, participants’ physical bodies are conflated among of various pop-cultural video clips, images, and effects as if they coexist in digital space.  By framing LeWitt’s sentences in this manner, the artists not only question these authoritative claims on art, but also create a space of possibility when faced with established ideologies.

august 1-14


a thing of this world



a thing of this world, Ryder Richards’ installation has evolved from researching civil power conflicts, primarily focusing on the relationship between police and citizens. Influenced by power/knowledge theory, the work uses the aesthetics of conflict while considering academic knowledge as a distancing mechanism from reality. The artist’s stark, detailed drawings, which depict a range of imagery from shielded police, plumes of smoke, to excerpts from theoretical text, frames a sense of civil escalation among police/citizen relations. Relative to the works on paper, Richard’s sculptural objects allude to conflations in the symbolic means-to power with figurative proxies in the form of a Kevlar® hoodie and a tower of batteries.


On the rooftop, Richards will also exhibit a Shield: Monument, a project comprised of cast plaster staircases correlating to the fragility of movement.

july 4-18



Christina Leung | Neil Infalvi

Greg MacAvoy | Natassa Gavalas

Elizabeth Corkery | Graham McDougal

Naoko Komori | Noah Post

Nino Baumgartner | Karin Lehmann

Rita Leduc | Joseph Leduc

Sue Anne Rische | Ryder Richards

Michael Loverich | Antonio Torres (Bittertang Farm)

Baseera Khan | Jason Fox

Doug Johnston | Tomoe Matsuoka

Shabd Simon-Alexander | Antoine Catala

Mike Picos | Anne Wu

Vincent Stracquadanio | Elizabeth Burans

Jessi Binder | Brian Michael Dunn


Tanabata Matsuri, a Japanese summer festival characterized by the display of colorful paper decorations, public events, and young couples wearing yukata (summer kimonos), celebrates the annual crossing of two stars, Altair and Vega. These stars, separated by the Milky Way, represent two loves who are able to meet one day a year.


In the spirit of these festivities, Public Address asked artist, architect, designer, and curator couples/collaborators to participate in TANABATA. Each couple/collaborator was invited to create a single tanabata fukinagashi, which was encouraged to reflect the work or practice of both individuals. This exhibition focuses on the intersection of two distinct personalities coming together to produce something that celebrates their special relationship and unique interpretation of the prompt.

march 7-21



"The galleries were full of fashionably dressed ladies, leaning over the balustrade and trying not to lose a single word of what was being said below."


Anna Karenina by Leo Tolstoy, Chapter XXX, Part VI. 1873

(Translated by Constance Black Garnett 1917)


Balustrade, a group exhibition with recent works by Nicholas Cueva, Paul Koneazny, and Anne Wu, augments the peripheralities of a spectacle. Similar to the experiences one has with public barriers during a city parade or the faux-marble remains of a Vegas casino’s demolition, the exhibition lauds adjacency-- the fringe activities synonymous to a performative display.  The paintings and objects employ patterning to activate their empirical sources through repetitions in the artists’ tactile surfaces and pictorial symbologies.