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What Is COVID Actually Doing to Our Immune Systems?
When the immune system goes awry, it’s bad news. A wonky immune system might mean that you’re more likely to catch colds and flus, or be infected by other pathogens—and less likely to shake them off. It might mean that your body fails to detect and destroy growing tumors. It might even mean that the body turns against itself, leading to chronic autoimmune conditions like arthritis or Crohn’s disease. The fallout of immune system dysfunction on the human body is widespread and unpredictable—which is why it was so concerning in 2020 when evidence began to amass that COVID-19 seemed to be disrupting human immunology. So much so, in fact, that John Wherry, director of the Penn Medicine Immune Health Institute, summed it up this way to Kaiser Health News: “COVID is deranging the immune system.”
Most of the early immunological evidence—the evidence that Wherry was referring to—came from patients who died or suffered severe COVID. Now, three years of infections and immunizations later, severe COVID is getting mercifully less common; a brush with the virus may well feel unremarkable. And a new idea about how COVID can affect immunity has emerged: that even mild infections routinely cause consequential damage to our bodies’ defenses. This quiet degradation was memorably termed “immunity theft” by one evolutionary biologist speculating on why this fall’s respiratory virus season seemed more severe than usual.
There are plenty of reasons to not want to get COVID over and over, but the prospect of an increasingly damaged immune system is a particularly compelling one. Throughout the pandemic, scientific evidence has mounted that mild COVID infections may be doing something to our immune systems—prompting many on social media to hyperbolically describe COVID as “airborne AIDS.” But the lessons that scientists are drawing from their research are nuanced—and the larger picture says more about the sturdiness of our collective immunity than anything else.
There are a few ways scientists can probe COVID’s impact on immune systems. One is to investigate how well the immune system can rally against a second go-round with SARS-CoV-2. At the start of the pandemic, Shane Crotty, of the La Jolla Institute of Immunology, published some of the first papers looking at the immune response to COVID. “There was a lot of concern about how strange it might look,” he said. But really, “it looks as we would largely expect for a respiratory viral infection.” Antibodies recognize and subdue the virus, while immune memory cells linger about, ready to gear up for the next infection. A similar response is seen after vaccination. Because of this robust immune response, SARS-CoV-2 infections are now, on average, shorter and milder. So far this year, COVID hospitalizations have not surged, despite high rates of infection. Some of this attenuation may be due to a meeker (arguably) omicron variant, but it’s more likely because, with respect to fending off COVID at least, our immune systems are working just as they’re supposed to.
But there’s another way to think about COVID’s immunological impact. What if SARS-CoV-2 infection fortifies our immune systems in very specific ways such that we can stave off severe COVID, but precipitates subtler, long-term immunological changes that leave us more vulnerable to other infections or even chronic disease? The data here is murkier.
Scientists know that during severe cases of COVID, things go immunologically haywire. A study from the pandemic’s early days, in January of 2020, profiled 41 hospitalized COVID patients in China and found that 63 percent of them had low numbers of lymphocytes, a critical type of disease-fighting white blood cell. A postmortem study found that patients who had died of COVID lacked germinal centers, which teach immune cells to mount a long-lasting response to infection. A few studies—which looked at hospitalized patients, and cells in petri dishes—have claimed that SARS-CoV-2 can directly infect immune cells, and others have found that the virus can stir up “autoantibodies,” or immunological turncoats that blitz the patient’s own proteins and cells. Wherry is a co-author on one such study; this is the kind of “deranging” he was talking about. Immune system derangement appears to be what can make some severe cases of COVID so horrible.
Since then, many other studies have unearthed immunological oddities with worrisome names like “T cell exhaustion” and “dendritic cell deficiencies”; sometimes the oddities are seen in patients with just mild COVID infections. These studies can fuel scary-sounding headlines (“Is COVID prematurely aging our immune systems?”). Their top-line results are often circulated as validation of widespread and ongoing immune dysregulation. But that’s not really true.
To understand why these studies aren’t validation requires going a bit in the methodological weeds. In most of them, researchers take a group of patients who suffered from COVID—often a mix of mild, moderate, and severe cases—and find a group of “matched controls,” or uninfected people with similar health and demographic profiles. Then, they train the power of modern biotechnology on the immune system, scanning hundreds or thousands of cells, genes, and molecules for anything that looks different in COVID patients vs. their never-infected counterparts. The data sets are huge, and sophisticated machine-learning algorithms are often deployed to sift signal from noise.
These are impressive techniques, but it’s important to keep in mind the purpose of these studies, and their limitations. Most are conducted in small groups of patients who may or may not be representative of the population as a whole. And from the small group, researchers collect lots and lots of data. This style of research is exploratory, designed to pick out avenues for future and more robust study. Some of the leads may pan out, but many—if not most—findings will just end up being natural variation between people’s bodies, popping up by chance in those who had COVID.
Few, if any, studies have information on the state of patients’ own immune systems before they were infected with COVID, making an apples-to-apples comparison of what COVID does to a particular person’s immune system impossible. Robust longitudinal data starting prior to the pandemic would show “whether we’ve seen large-scale changes in immune fitness,” Wherry told me—and we just don’t have it. In its absence, “the evidence of a long-term impact on the immune system in fully recovered COVID patients, whether mild or severe, is really pretty thin.”
“There are some diseases where there is a clear immune signature that would make me worried,” Crotty, the immunologist at the La Jolla Institute, said. “For example, if you catch measles, you end up more susceptible to other infections for several months. But I haven’t seen anything in our data or other studies that makes me worried about long-term impacts on immunity to other infections.”
Even if the laboratory studies aren’t conclusive, there is some real-world evidence that mild COVID infections can throw the immune system out of whack. The latest is a large observational study posted on a preprint server just last week by German researchers. At first glance, the findings are scary—they found a whopping 43 percent increase in the onset of autoimmune disease in COVID patients compared with noninfected controls. But it’s important to put that number in context. First, the infections were in 2020, before vaccines. Second, that 43 percent is relative risk. In absolute terms, the study found that 1.1 percent of people developed autoimmune disease after catching COVID; 0.8 percent of controls developed autoimmune disease during the same period. That’s a 0.3 percent difference. The study size was huge, so that small difference could very well be real and a cause for concern on a population level. (The study has not yet been peer-reviewed.) But it’s still a fairly rare outcome.
Less rare is long COVID, and it’s possible immune dysfunction could be linked to this worrisome condition. Scientists who have looked for obvious signs of how immunological dysfunction produces long COVID symptoms haven’t found it. “If there’s chronic immune activation that’s damaging tissue to produce the symptoms, then we should be able to detect that tissue damage. And that was what we couldn’t do,” said Michael Sneller, an infectious-disease specialist at the National Institute of Allergy and Infectious Diseases who is running one of the more comprehensive longitudinal studies on long COVID patients.
But long COVID is far from solved, so scientists are still probing for clues about how and why it comes about—this is where some of that exploratory research based on small sample sizes and broad swaths of data may prove valuable.
In the late 2000s, researchers in Vietnam found that infection with the typhoid bacterium left an imprint on the immune system for at least a year. When COVID hit, David Lynn, a co-author on that paper and a professor at the South Australian Health and Medical Research Institute and Flinders University, put together a grant application to determine whether SARS-CoV-2 did the same. Lynn and his team followed 69 patients in Australia with COVID infections ranging from mild to very severe. In contrast to standard clinical tests, Lynn used newer, sophisticated molecular techniques that can pick up much subtler signals. With a more fine-toothed comb, Lynn was able to find that almost every patient showed signs of a perturbed immune system at the molecular level, compared with healthy controls—but in most patients, these perturbations faded away after a few months. In a third of them, the immune system remained in a state of dysregulation. Many of those patients were later identified as having long COVID. “That was quite remarkable to us,” Lynn told me. Other studies back up Lynn’s findings, including one study posted on a preprint server by renowned Yale immunologist Akiko Iwasaki, whose team was able to predict which patients had developed long COVID by profiling immunological data at the molecular level alone.
One possible explanation for this small-scale perturbation is that long COVID’s symptoms could be the result of a hidden confrontation between the immune system and active virus ensconced deep in the body’s tissues—like combat among soldiers in remote outposts who don’t yet know the war is over. Other explanations include autoantibodies, reactivation of other latent viruses, or difficult-to-detect tissue damage from microclots. But these hypotheses remain speculation. And these newer molecular techniques haven’t been as widely used to investigate the immunology of other pathogens, meaning it’s unclear whether SARS-CoV-2 is even that exceptional. “I think all of the studies, including ours, are just giving hints to what’s going on,” Lynn said. “I don’t think we have a smoking gun at the moment.”
Importantly, since none of these studies have pre-pandemic snapshots of participant immune systems, it can’t be ruled out that patients may be more susceptible to developing long COVID if they already had a less-than-healthy immune system, muddling cause and consequence. Chansavath Phetsouphanh, an immunologist at the University of New South Wales’ Kirby Institute, was lead author on an Australian study that found hints of immunological dysfunction at least eight months after infection, particularly in patients with long COVID. “We know there are preexisting medical conditions that can make individuals more susceptible to developing long COVID,” Phetsouphanh said. This is a clue that “there may already be dysregulation of the immune system prior to getting infected.” As scientists work to untangle cause and effect, their research highlights the importance of health care and public health measures for people with compromised immune systems, whatever the cause.
At this point, the best we can say is that sensitive scientific tests can detect differences in the immune systems of people infected with SARS-CoV-2 compared with the ever-dwindling cohort of those who have never been infected at all. Whether these differences—which vary from study to study—add up to a molecular “immune signature” of COVID remains to be seen. Any clues may be particularly valuable in untangling why a subset of patients have symptoms that last a few months or longer. But to conclude that these detectable differences translate to real-world consequences is overreach. Further, to claim that COVID is destroying all of our immune systems, or is inflicting the direct and intense immune damage of an HIV infection, is absurd.
Wherry, the Penn Medicine immunologist, told me this—I think it’s worth laying out the quote in full:
We’re not seeing evidence that this one virus has changed our immune system’s ability to keep us healthy on a large scale. There are 7 billion people on the planet who are doing fairly well. And we’re not seeing opportunistic infections, we’re not seeing huge increases in cancers that need immune surveillance, we’re just not seeing the kinds of things that we saw in other settings where the immune system was compromised, or dysregulated, because of an infectious disease, or because of toxins, or because of radiation, that we’ve seen in a variety of human events over the past 100 years.
To claim that COVID could potentially discombobulate immune systems isn’t to peddle pseudoscience. People respond to infections very differently, and it’s worth continuing research into what COVID might be doing to some people’s ability to fight future infections, or how it might trigger chronic autoimmune disease. Even if long-lasting immune dysfunction develops in only a very small percentage of people, that still means a lot of individual suffering and a major toll on families and communities. In addition, noted Lynn, from a public health perspective, “that is a large additional burden on health-care systems around the world.” Further, the intense focus on the post-viral immunological effects of SARS-CoV-2 infection may shed light on what can happen after other infections—the possibility of long-lasting immunological changes in response to pathogens may be more common than previously thought. But researchers emphasize that even if COVID routinely tinkers with the immune system, our body’s defenses are stubbornly resilient. “Think of the immune system like a Boeing aircraft,” said Lynn. “For it to crash, you need multiple things to go wrong. Just one, or even a few things, is unlikely to be sufficient to bring the immune system down.”
Medical techniques for treatment of male and female sexual dysfunction, male infertility, impotence, male menopause, vasectomy, premature ejaculation, sperm cryobanking and semen analysis to enable men and women achieve sexual health and satisfying male and female sexuality. Clinics in Purchase, NY and Norwalk, CT. www.wernermd.com/
First Thursday, November 6, 2014.
Photographs By Jennifer Hughes
PNCA presents a variety of exhibitions on campus:
Eva and Franco Mattes: Breaking Banality: The Dysfunction of Remediation
Nov 6, 2014 – Jan 10, 2015
Portland, OR, October 23, 2014 — The Philip Feldman Gallery + Project Space at Pacific Northwest College of Art (PNCA) presents Breaking Banality: The Dysfunction of Remediation, an exhibition by Eva and Franco Mattes, opening with a reception on First Thursday, November 6, 2014 and running through January 10, 2015. For the exhibition, whose title was created by an online random exhibition title generator, the Brooklyn-based Italian duo will present ten reiterations of one performance from their series “BEFNOED – By Everyone, For No One, Every Day,” for which they commission anonymous workers to realize webcam performances. The Mattes’ hire performers through online crowdsourcing services and post the resulting videos to many of the more obscure social networks around the world. The artists regularly post links to new videos at befnoed.tumblr.com. These works are in the lineage of Fluxus event scores and more recently Hans Ulrich Obrist’s instruction-based project, “Do It.” For this exhibition, to view the videos, visitors will be forced in awkward positions, becoming themselves, if just for a few seconds, performers, and underlying how the act of viewing is in itself performative.
Last Call: 2014 PNCA Staff Exhibition: Swigert Commons
Nov 6, 2014 – Nov 22, 2014
The artists and designers who make up the staff at Pacific Northwest College of Art (PNCA) are among the Portland’s most dedicated practitioners. While as a group they are diverse in their creative endeavors, they are united in their drive for a continual exploration of creative practice. The Staff Exhibition celebrates and showcases the rigor, invention, and excellence of those explorations in an exhibition that highlights the diversity and collective nature of the PNCA staff.
PNCA's Veterans Exhibition: Higgins Gallery
Nov 6, 2014 – Nov 23, 2014
PNCA’s first ever exhibition of its current students, staff, and faculty who served in the United States Military. A diverse group in their chosen mediums and topics, this exhibition showcases a variety works made from PNCA’s Veterans. Held in connection with the November 11th Veterans Day holiday.
Roger Peet: Traps, Flows, Echoes: Gallery 214
Nov 6, 2014 – Nov 28, 2014
Portland artist Roger Peet will open a show of new installation, video and print work in Gallery 214 at PNCA on the 6th November. The show, entitled “Traps, Flows, Echoes” focuses on the idea of the trap, in both the physical and cultural realms. Much of the show will focus on Peet’s relationship to the Democratic Republic of Congo, where he has worked for several seasons to promote community conservation through art. Some of the work addresses Peet’s complex relationship with his father, who faked his death to go AWOL from the British Air Force and to fly helicopters for the CIA’s interventions in Congo in the 1960’s, an event which Peet recreates in a video collaboration with Portland director Jodi Darby. In his travels and work in Congo, Peet experienced first hand the disastrous consequences of the history his father had helped to shape, and this show will contain vivid and evocative print, installation, and sound pieces that evoke the trauma and brutality of that trap of history, as well as the ways that he and the friends that he made in Congo are trying to get out of it. The work also features sound collages and poetry by Portland MC Mic Crenshaw.
Roger Peet is an artist, writer and printmaker in Portland, Oregon. His art focuses on civilized bad ideas, evolution and extinction, predator-prey relationships, and the contemporary crisis of biodiversity and what can and can’t be done about it. He is a member of the Justseeds Artists’ Cooperative (justseeds.org), a group of socially and environmentally engaged North American artists, and collaborates with activists, artists and scientists across the globe in the service of a more generous and a wilder world. His website is TooSphexy.com.
This project was produced with the generous assistance of the Regional Arts and Culture Council.
First Thursday, November 6, 2014.
Photographs By Jennifer Hughes
PNCA presents a variety of exhibitions on campus:
Eva and Franco Mattes: Breaking Banality: The Dysfunction of Remediation
Nov 6, 2014 – Jan 10, 2015
Portland, OR, October 23, 2014 — The Philip Feldman Gallery + Project Space at Pacific Northwest College of Art (PNCA) presents Breaking Banality: The Dysfunction of Remediation, an exhibition by Eva and Franco Mattes, opening with a reception on First Thursday, November 6, 2014 and running through January 10, 2015. For the exhibition, whose title was created by an online random exhibition title generator, the Brooklyn-based Italian duo will present ten reiterations of one performance from their series “BEFNOED – By Everyone, For No One, Every Day,” for which they commission anonymous workers to realize webcam performances. The Mattes’ hire performers through online crowdsourcing services and post the resulting videos to many of the more obscure social networks around the world. The artists regularly post links to new videos at befnoed.tumblr.com. These works are in the lineage of Fluxus event scores and more recently Hans Ulrich Obrist’s instruction-based project, “Do It.” For this exhibition, to view the videos, visitors will be forced in awkward positions, becoming themselves, if just for a few seconds, performers, and underlying how the act of viewing is in itself performative.
Last Call: 2014 PNCA Staff Exhibition: Swigert Commons
Nov 6, 2014 – Nov 22, 2014
The artists and designers who make up the staff at Pacific Northwest College of Art (PNCA) are among the Portland’s most dedicated practitioners. While as a group they are diverse in their creative endeavors, they are united in their drive for a continual exploration of creative practice. The Staff Exhibition celebrates and showcases the rigor, invention, and excellence of those explorations in an exhibition that highlights the diversity and collective nature of the PNCA staff.
PNCA's Veterans Exhibition: Higgins Gallery
Nov 6, 2014 – Nov 23, 2014
PNCA’s first ever exhibition of its current students, staff, and faculty who served in the United States Military. A diverse group in their chosen mediums and topics, this exhibition showcases a variety works made from PNCA’s Veterans. Held in connection with the November 11th Veterans Day holiday.
Roger Peet: Traps, Flows, Echoes: Gallery 214
Nov 6, 2014 – Nov 28, 2014
Portland artist Roger Peet will open a show of new installation, video and print work in Gallery 214 at PNCA on the 6th November. The show, entitled “Traps, Flows, Echoes” focuses on the idea of the trap, in both the physical and cultural realms. Much of the show will focus on Peet’s relationship to the Democratic Republic of Congo, where he has worked for several seasons to promote community conservation through art. Some of the work addresses Peet’s complex relationship with his father, who faked his death to go AWOL from the British Air Force and to fly helicopters for the CIA’s interventions in Congo in the 1960’s, an event which Peet recreates in a video collaboration with Portland director Jodi Darby. In his travels and work in Congo, Peet experienced first hand the disastrous consequences of the history his father had helped to shape, and this show will contain vivid and evocative print, installation, and sound pieces that evoke the trauma and brutality of that trap of history, as well as the ways that he and the friends that he made in Congo are trying to get out of it. The work also features sound collages and poetry by Portland MC Mic Crenshaw.
Roger Peet is an artist, writer and printmaker in Portland, Oregon. His art focuses on civilized bad ideas, evolution and extinction, predator-prey relationships, and the contemporary crisis of biodiversity and what can and can’t be done about it. He is a member of the Justseeds Artists’ Cooperative (justseeds.org), a group of socially and environmentally engaged North American artists, and collaborates with activists, artists and scientists across the globe in the service of a more generous and a wilder world. His website is TooSphexy.com.
This project was produced with the generous assistance of the Regional Arts and Culture Council.
A good ride aborted. I was about to start the second lap of the red at Clayton Vale trail centre this morning when I noticed a sudden change in my riding position. Metal fatigue - the result of ragging a rigid round the red. "It's never done that before!" which is what the man said when his donkey died.
November 27, 2012
Policy Talks @ the Ford School event: "It's even worse than it looks: a conversation with Tom Mann and Norm Ornstein."
Thomas Mann (MA '68, PhD '77) and Norman Ornstein (PhD '74) will discussed their most recent book, the New York Times bestseller, It's Even Worse than It Looks: How the American Constitutional System Collided with the New Politics of Extremism. The book takes a comprehensive approach to understanding the current dysfunction in Congress, and provides pragmatic recommendations to remedy it.
Learn more: www.fordschool.umich.edu/events/calendar/1431
First Thursday, November 6, 2014.
Photographs By Jennifer Hughes
PNCA presents a variety of exhibitions on campus:
Eva and Franco Mattes: Breaking Banality: The Dysfunction of Remediation
Nov 6, 2014 – Jan 10, 2015
Portland, OR, October 23, 2014 — The Philip Feldman Gallery + Project Space at Pacific Northwest College of Art (PNCA) presents Breaking Banality: The Dysfunction of Remediation, an exhibition by Eva and Franco Mattes, opening with a reception on First Thursday, November 6, 2014 and running through January 10, 2015. For the exhibition, whose title was created by an online random exhibition title generator, the Brooklyn-based Italian duo will present ten reiterations of one performance from their series “BEFNOED – By Everyone, For No One, Every Day,” for which they commission anonymous workers to realize webcam performances. The Mattes’ hire performers through online crowdsourcing services and post the resulting videos to many of the more obscure social networks around the world. The artists regularly post links to new videos at befnoed.tumblr.com. These works are in the lineage of Fluxus event scores and more recently Hans Ulrich Obrist’s instruction-based project, “Do It.” For this exhibition, to view the videos, visitors will be forced in awkward positions, becoming themselves, if just for a few seconds, performers, and underlying how the act of viewing is in itself performative.
Last Call: 2014 PNCA Staff Exhibition: Swigert Commons
Nov 6, 2014 – Nov 22, 2014
The artists and designers who make up the staff at Pacific Northwest College of Art (PNCA) are among the Portland’s most dedicated practitioners. While as a group they are diverse in their creative endeavors, they are united in their drive for a continual exploration of creative practice. The Staff Exhibition celebrates and showcases the rigor, invention, and excellence of those explorations in an exhibition that highlights the diversity and collective nature of the PNCA staff.
PNCA's Veterans Exhibition: Higgins Gallery
Nov 6, 2014 – Nov 23, 2014
PNCA’s first ever exhibition of its current students, staff, and faculty who served in the United States Military. A diverse group in their chosen mediums and topics, this exhibition showcases a variety works made from PNCA’s Veterans. Held in connection with the November 11th Veterans Day holiday.
Roger Peet: Traps, Flows, Echoes: Gallery 214
Nov 6, 2014 – Nov 28, 2014
Portland artist Roger Peet will open a show of new installation, video and print work in Gallery 214 at PNCA on the 6th November. The show, entitled “Traps, Flows, Echoes” focuses on the idea of the trap, in both the physical and cultural realms. Much of the show will focus on Peet’s relationship to the Democratic Republic of Congo, where he has worked for several seasons to promote community conservation through art. Some of the work addresses Peet’s complex relationship with his father, who faked his death to go AWOL from the British Air Force and to fly helicopters for the CIA’s interventions in Congo in the 1960’s, an event which Peet recreates in a video collaboration with Portland director Jodi Darby. In his travels and work in Congo, Peet experienced first hand the disastrous consequences of the history his father had helped to shape, and this show will contain vivid and evocative print, installation, and sound pieces that evoke the trauma and brutality of that trap of history, as well as the ways that he and the friends that he made in Congo are trying to get out of it. The work also features sound collages and poetry by Portland MC Mic Crenshaw.
Roger Peet is an artist, writer and printmaker in Portland, Oregon. His art focuses on civilized bad ideas, evolution and extinction, predator-prey relationships, and the contemporary crisis of biodiversity and what can and can’t be done about it. He is a member of the Justseeds Artists’ Cooperative (justseeds.org), a group of socially and environmentally engaged North American artists, and collaborates with activists, artists and scientists across the globe in the service of a more generous and a wilder world. His website is TooSphexy.com.
This project was produced with the generous assistance of the Regional Arts and Culture Council.
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First Thursday, November 6, 2014.
Photographs By Jennifer Hughes
PNCA presents a variety of exhibitions on campus:
Eva and Franco Mattes: Breaking Banality: The Dysfunction of Remediation
Nov 6, 2014 – Jan 10, 2015
Portland, OR, October 23, 2014 — The Philip Feldman Gallery + Project Space at Pacific Northwest College of Art (PNCA) presents Breaking Banality: The Dysfunction of Remediation, an exhibition by Eva and Franco Mattes, opening with a reception on First Thursday, November 6, 2014 and running through January 10, 2015. For the exhibition, whose title was created by an online random exhibition title generator, the Brooklyn-based Italian duo will present ten reiterations of one performance from their series “BEFNOED – By Everyone, For No One, Every Day,” for which they commission anonymous workers to realize webcam performances. The Mattes’ hire performers through online crowdsourcing services and post the resulting videos to many of the more obscure social networks around the world. The artists regularly post links to new videos at befnoed.tumblr.com. These works are in the lineage of Fluxus event scores and more recently Hans Ulrich Obrist’s instruction-based project, “Do It.” For this exhibition, to view the videos, visitors will be forced in awkward positions, becoming themselves, if just for a few seconds, performers, and underlying how the act of viewing is in itself performative.
Last Call: 2014 PNCA Staff Exhibition: Swigert Commons
Nov 6, 2014 – Nov 22, 2014
The artists and designers who make up the staff at Pacific Northwest College of Art (PNCA) are among the Portland’s most dedicated practitioners. While as a group they are diverse in their creative endeavors, they are united in their drive for a continual exploration of creative practice. The Staff Exhibition celebrates and showcases the rigor, invention, and excellence of those explorations in an exhibition that highlights the diversity and collective nature of the PNCA staff.
PNCA's Veterans Exhibition: Higgins Gallery
Nov 6, 2014 – Nov 23, 2014
PNCA’s first ever exhibition of its current students, staff, and faculty who served in the United States Military. A diverse group in their chosen mediums and topics, this exhibition showcases a variety works made from PNCA’s Veterans. Held in connection with the November 11th Veterans Day holiday.
Roger Peet: Traps, Flows, Echoes: Gallery 214
Nov 6, 2014 – Nov 28, 2014
Portland artist Roger Peet will open a show of new installation, video and print work in Gallery 214 at PNCA on the 6th November. The show, entitled “Traps, Flows, Echoes” focuses on the idea of the trap, in both the physical and cultural realms. Much of the show will focus on Peet’s relationship to the Democratic Republic of Congo, where he has worked for several seasons to promote community conservation through art. Some of the work addresses Peet’s complex relationship with his father, who faked his death to go AWOL from the British Air Force and to fly helicopters for the CIA’s interventions in Congo in the 1960’s, an event which Peet recreates in a video collaboration with Portland director Jodi Darby. In his travels and work in Congo, Peet experienced first hand the disastrous consequences of the history his father had helped to shape, and this show will contain vivid and evocative print, installation, and sound pieces that evoke the trauma and brutality of that trap of history, as well as the ways that he and the friends that he made in Congo are trying to get out of it. The work also features sound collages and poetry by Portland MC Mic Crenshaw.
Roger Peet is an artist, writer and printmaker in Portland, Oregon. His art focuses on civilized bad ideas, evolution and extinction, predator-prey relationships, and the contemporary crisis of biodiversity and what can and can’t be done about it. He is a member of the Justseeds Artists’ Cooperative (justseeds.org), a group of socially and environmentally engaged North American artists, and collaborates with activists, artists and scientists across the globe in the service of a more generous and a wilder world. His website is TooSphexy.com.
This project was produced with the generous assistance of the Regional Arts and Culture Council.
Deliberation, Obstruction or Dysfunction? Evaluating the Modern U.S. Senate and its Contribution to American Governance
March 12, 2010, 9:30am – 11:30am
To watch the video, click here: www.americanprogressaction.org/events/2010/03/filibuster....
Whether or not a relatively small minority of the U.S. Senate should be able to block the policies put forward by the president and majorities in both houses of Congress has been a matter of great controversy in American politics since before the Civil War. Today, however, the tactical tools available to the minority are being used more aggressively than at any time in our history and the impact on the nature and quality of American government is greater than ever. On Friday, March 12th the Center for American Progress Action Fund in cooperation with the Center for Congressional and Presidential Studies of American University will sponsor a symposium the modern Senate and how current practices are impacting the quality of government.
Keynote Speaker:
Senator Tom Udall (D-NM)
Featured Panelists:
Scott Lilly, Senior Fellow, Center for American Progress Action Fund
Thomas Mann, Senior Fellow, Brookings Institution
Moderated by:
James Thurber, Distinguished Professor and Director, Center for Congressional and Presidential Studies at American University
Magar yeh ho na saka!!!!
I read it on a thread that Scout does it every year....so unfair to hopefuls like us!
Medical techniques for treatment of male and female sexual dysfunction, male infertility, impotence, male menopause, vasectomy, premature ejaculation, sperm cryobanking and semen analysis to enable men and women achieve sexual health and satisfying male and female sexuality. Clinics in Purchase, NY and Norwalk, CT. www.wernermd.com/
Digital ATC card by me from www.flickr.com/photos/snoopthesnooper/9975411125/ by Sherry Collier. A Libra can't help it. Nov. 2013.
Medical techniques for treatment of male and female sexual dysfunction, male infertility, impotence, male menopause, vasectomy, premature ejaculation, sperm cryobanking and semen analysis to enable men and women achieve sexual health and satisfying male and female sexuality. Clinics in Purchase, NY and Norwalk, CT. www.wernermd.com/
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I sewed this body sack for the girls some time ago. It's designed so that they can go into the tube of fabric and move, crawl, and stand up (they're still small enough to do that).
The fabric is very stretchy so it moves and streches in whatever shape they're in. It helps kids who have sensory issues (sensory integration dysfunction). It helps them identify where their bodies start and end (a proprioceptive issue).
For more information, please see: www.sensory-processing-disorder.com/proprioceptive-dysfun... .
Medical techniques for treatment of male and female sexual dysfunction, male infertility, impotence, male menopause, vasectomy, premature ejaculation, sperm cryobanking and semen analysis to enable men and women achieve sexual health and satisfying male and female sexuality. Clinics in Purchase, NY and Norwalk, CT. www.wernermd.com/
The Mobile Emergency Room is a project by Thierry Geoffroy/Colonel, a participating artist of the Maldives Pavilion working with art formats developed around the notion of emergency. www.emergencyrooms.org
Emergency Room is a format providing space for artists to engage in urgent debates, address societal dysfunctions and express emergencies in the now, today, before it is too late. Geoffroy’s approach allows immediate artistic intervention and displaces the contemporary to the status of delayed comment on yesterday’s world.
Taking as point of departure climate change and the Maldives, Geoffroy developed a scenario of disappearance and translated actual emergencies and hospitality needs into artistic interventions. In this context he activated his penetration format in order to transform “rigid exhibition spaces” into “elastic and generous exhibition spaces”.
An intervention facilitated by curator Christine Eyene, the Mobile Emergency Room was set up at the Zimbabwe Pavilion during the opening week of the biennale with the hospitality of commissioner Doreen Sibanda and curator Raphael Chikukwa. The first pieces presented in this room consisted in Geoffroy’s tent and an installation by Polish artist Christian Costa. Since then it has been animated online and has extended from being a space for artists expressing emergencies about climate change, to encompassing various emergency topics.
From 24 to 28 August, Geoffroy was in Venice collaborating with Danish artists Nadia Plesner, Mads Vind Ludvigsen, who created new work everyday, raising various emergencies and concerns, with a daily change of exhibition (“passage”) at 3.00 pm.
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the Emergency Room Mobile at the Zimbabwe pavilion / Venice Biennale has now been completed with some work from the The Delay Museum ,Please visit the pavilion when you go the Venice Biennale this is part of the PENETRATIONS formats ( the Zimbabwe pavilion gave hopsitality for a period of several monthes ) the displayed art works in the Delay Museum are still "boiling " as they are from last week . ( Nadia Plesner / Mads Vind Ludvigsen , COLONEL ) ( this project is a convergence with BIENNALIST / Emergency Room ) more on Christine Eyene blog as she facilated and work within ....This penetration was in connection with my participation in the Maldives pavilion " CAN A NATION WELCOME ANOTHER NATION ?"CAN EMERGENCIES BE RANKED " .Thank you also for the work by David Marin , @Guillaume Dimanche and Christian Costa
venice-biennale-biennalists.blogspot.dk/2013/09/recents-w...
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VENICE BIENNALE / VENEZIA BIENNIAL 2013 : BIENNALIST
www.emergencyrooms.org/biennalist.html
Biennalist is an Art Format by Thierry Geoffroy / Colonel debating with artistic tools on Biennales and other cultural managed events . Often those events promote them selves with thematics and press releases faking their aim . Biennalist take the thematics of the Biennales very seriously , and test their pertinance . Artists have questioned for decade the canvas , the pigment , the museum ... since 1989 we question the Biennales .Often Biennalist converge with Emergency Room providing a burning content that cannot wait ( today before it is too late )
please contact before using the images : Thierry Geoffroy / Colonel 1@colonel.dk
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Dec.2009, "On the road again, just can't wait to get on the road again...". Here we are stuck at the Frankfort airport during our transfer to our destination..this time we're off to INDIA FOR 21 days for me to undergo SPINAL DISC REPLACEMENT SURGERY on 4 discs! Dec.30, 2009-Jan.21, 2010.
My prior tests and MRI's revealed that my Degenerative Disc Disease had excelerated...I had spinal cord compression in my neck due to herniated discs at C5,C6 and C6,C7 and in my Lumbar spine I had a herniated disc with an annular tear at L5,S1 as well as a bulged disc at L4, L5 (where the Sciatic Nerve is), also had "excreted disc material" in the areas surrounding the bad discs in both Lumnar and Cervical spine as well as bone spurs.(we already knew about the L5, S1 bad disc but it was not a huge problem until my bad Si surgery in 2008...). In the States, I had also gone through additional testing to confirm underwent Nerve Testing and a Discogram as well and it all confirmed that I needed disc surgery.
I had more MRI's done in India to confirm my need for disc replacements. What followed was surgical replacement for 3 of the 4 discs that were originally scheduled to be replaced. Unfortunatly, the surgeon could not removed the disc responsible for my severe Sciatica at L4,L5 due to a vital blood vessel running over top of it (surgeon said I could have likely lost my leg if he tampered with it).
*God ALWAYS finds ways to provide for us, a family from our home church in Cochrane mailed us a cheque to help cover some of the expenses!*
Medical techniques for treatment of male and female sexual dysfunction, male infertility, impotence, male menopause, vasectomy, premature ejaculation, sperm cryobanking and semen analysis to enable men and women achieve sexual health and satisfying male and female sexuality. Clinics in Purchase, NY and Norwalk, CT. www.wernermd.com/
This drawing is from Stick News on The Daily English Show.
Show 1431
You're welcome to use it. We like to share.
Please link to us: thedailyenglishshow.com
Details on how to credit us: thedailyenglishshow.com/image-credits
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Orly é minha marca favorita. Não sei o motivo, mas esses frasquinhos da Orly me seduzem mais que muita marca baphônica por ai....
Decades of Dysfunction - Recebi em minha primeira troquinha internacional. Faz parte da Dark Shadow Collection. Apesar de clarinho, é fácil de aplicar, cobre com duas camadas e acho que deixa as unhas com cara de 'unha de menina'. Bom para quando queremos descansar de cores fortes, mas não é muito o meu estilo, rs!
Nite Owl - Faz parte da coleção Birds of a Feather e veio de uma troquinha com a querida Dani Vianna. Nude com shimmer, lindo!
Buried Alive - Recebi na mesma troquinha do Decades of Dysfunction e é mais um da Dark Shadow Collection. Ainda não usei, mas costumo gostar dessa cor de chocolate.
Rock-It - Faz parte da coleção Mineral FX. Consegui em uma troquinha com uma amiga esmaltólatra de BH. O vidrinho favorito da minha marca favorita, precisa de mais? Queria fazer estoque... MEU XODÓ!!! =P
It's Not Rocket Science - Faz parte da coleção Cosmic FX e veio na mesma troca que o Decades of Dysfunction. Acho a coleção Cosmic FX linda e quero todos! =P
Old School Orange - Faz parte da coleção Plastix. Encontrei por um precinho bacana e não consegui deixar passar... Gosto deste acabamento emborrachado. Tenho também a versão mini.
Bailamos - Faz parte da Viva! Collection. Mais um que encontrei com um precinho camarada e não consegui deixar passar. A cor não tem muito a minha cara e por isso ainda não usei o pobrezinho, rs! Veio com um mini TC da marca, muito fofo!
Decoded - Recebi na mesma troquinha do Decades of Dysfunction. Faz parte da coleção Electronica. Cinza é uma das minha cores favoritas. =)
La Playa - Mais um da Viva! Collection. Consegui em um desapego e é um dos meus azuis favoritos. =)
Can't be Tamed - Pertence a Flash Glam FX Collection. Mais um que veio na mesma troca que o Decades of Dysfunction... Não usei e ele não tem nada a ver comigo. =(
Fortíssimo candidato a desapego ou troca. =P
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Emergency Room Hanoi
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Date: 28 Oct - 20 Nov 2009
Emergency Room is a format created by the artist Thierry Geoffroy / Colonel that will be activated in Hanoi at the Vietnam University of Fine Arts in connection with the royal Danish state visit to Vietnam, November 2009.
Artists are thermometers that can measure and perceive dysfunctions in our society. Artists are experts of all perceptions. What they know or feel must reach the public opinion immediately: Now - before it is too late.
Through Emergency Room, artists can react to reality every day. In Emergency Room the public can have access to the artist's premonitions, suspicions, visions and collected evidences before it is too late. In Emergency Room artists evolve and develop new unexpected methods and forms.
Artists, burning to express themselves about the emergencies of today, join each other daily to display their work in the circular Emergency Room. Punctuality and deadlines are fundamental when yesterday's artworks daily at 12.15 pm is removed from the Emergency Room to give space to the artworks of today. This ritual of changing the exhibition is called: "The Passage". The artworks from yesterday and previous days are then exhibited in the "Delay Museum" beside the Emergency Room.
The Queen, Crown Prince and Crown Princess of Denmark will attend the Passage on November 3rd and engage in the following discussion with the artists.
In Hanoi, a large number of Danish and Vietnamese artists will participate and cooperate over the period of the exhibition.
The Emergency Room Format
Emergency Room is a format: when an art institution has agreed to host the Emergency Room format it is given the license to activate a local version of the format, adapted to the local surroundings and context. Other formats by Thierry Geoffroy include the format "Biennalist", "Critical Run and "Awareness Muscle" .
Emergency Room is also an international movement, like a caravan, and everywhere the format is actualized the community of Emergency Room Artists expands. Emergency Room has been successfully launched in New York, PS1 / MOMA; Berlin, Galerie Olaf Stueber; Denmark, Nikolaj Contemporary art center; Athens, Ileana Tounta Gallery; Italy , Napoli PAN Art Center; Paris, Galerie Taïss.
"Artists, audience and media have been fighting for weeks in order to get to see and participate in the new and innovating exhibition that with its "art of the news" puts the art institution itself to debate.
Reuters, The New Yorker and the TV-channel ABC News are some of the leading media that have brought the story about the original exhibition, and at P.S.1 more than a thousand visitors per day have been seeing it…" (Nikolaj M. Lassen, Weekendavisen, March 30th, 2007)
Emergency Room Hanoi is organized by the Danish Arts Agency and the Royal Danish Embassy in Hanoi.
GAME GIRLS follows several women through America’s melting pot of dysfunction: Los Angeles’ skid row. They are estranged daughters, lost mothers, or both, trying to fight their way out of an intergenerational history of drugs, poverty and trauma.
Through a unique creative process, based on a 18-months-long drama-therapy workshop with the women, director Alina Skreszweska will create a collaborative portrait of lives below the radar of mainstream society.
Alina Skreszweska has already made two successful films about Skid Row: Songs From The Nickel (2010), a feature documentary which premiered at Visions du Réel (Nyon, Switzerland) and won the Prize for a Best Documentary at Athens International Film & Video Festival (Ohio, USA), as well as Best Film at Document 9 of Glasgow, Sibiu Award at Astra Film festival Romania, and Special Mention of the Jury at Festival Films de Femmes de Créteil 2011. And TV-documentary Traviesos (2013), which was broadcasted on ZDF/Arte in Europe.
With GAME GIRLS, Alina focuses on women and, for the first time, she includes the protagonists themselves in the writing process of the film.
First Thursday, November 6, 2014.
Photographs By Jennifer Hughes
PNCA presents a variety of exhibitions on campus:
Eva and Franco Mattes: Breaking Banality: The Dysfunction of Remediation
Nov 6, 2014 – Jan 10, 2015
Portland, OR, October 23, 2014 — The Philip Feldman Gallery + Project Space at Pacific Northwest College of Art (PNCA) presents Breaking Banality: The Dysfunction of Remediation, an exhibition by Eva and Franco Mattes, opening with a reception on First Thursday, November 6, 2014 and running through January 10, 2015. For the exhibition, whose title was created by an online random exhibition title generator, the Brooklyn-based Italian duo will present ten reiterations of one performance from their series “BEFNOED – By Everyone, For No One, Every Day,” for which they commission anonymous workers to realize webcam performances. The Mattes’ hire performers through online crowdsourcing services and post the resulting videos to many of the more obscure social networks around the world. The artists regularly post links to new videos at befnoed.tumblr.com. These works are in the lineage of Fluxus event scores and more recently Hans Ulrich Obrist’s instruction-based project, “Do It.” For this exhibition, to view the videos, visitors will be forced in awkward positions, becoming themselves, if just for a few seconds, performers, and underlying how the act of viewing is in itself performative.
Last Call: 2014 PNCA Staff Exhibition: Swigert Commons
Nov 6, 2014 – Nov 22, 2014
The artists and designers who make up the staff at Pacific Northwest College of Art (PNCA) are among the Portland’s most dedicated practitioners. While as a group they are diverse in their creative endeavors, they are united in their drive for a continual exploration of creative practice. The Staff Exhibition celebrates and showcases the rigor, invention, and excellence of those explorations in an exhibition that highlights the diversity and collective nature of the PNCA staff.
PNCA's Veterans Exhibition: Higgins Gallery
Nov 6, 2014 – Nov 23, 2014
PNCA’s first ever exhibition of its current students, staff, and faculty who served in the United States Military. A diverse group in their chosen mediums and topics, this exhibition showcases a variety works made from PNCA’s Veterans. Held in connection with the November 11th Veterans Day holiday.
Roger Peet: Traps, Flows, Echoes: Gallery 214
Nov 6, 2014 – Nov 28, 2014
Portland artist Roger Peet will open a show of new installation, video and print work in Gallery 214 at PNCA on the 6th November. The show, entitled “Traps, Flows, Echoes” focuses on the idea of the trap, in both the physical and cultural realms. Much of the show will focus on Peet’s relationship to the Democratic Republic of Congo, where he has worked for several seasons to promote community conservation through art. Some of the work addresses Peet’s complex relationship with his father, who faked his death to go AWOL from the British Air Force and to fly helicopters for the CIA’s interventions in Congo in the 1960’s, an event which Peet recreates in a video collaboration with Portland director Jodi Darby. In his travels and work in Congo, Peet experienced first hand the disastrous consequences of the history his father had helped to shape, and this show will contain vivid and evocative print, installation, and sound pieces that evoke the trauma and brutality of that trap of history, as well as the ways that he and the friends that he made in Congo are trying to get out of it. The work also features sound collages and poetry by Portland MC Mic Crenshaw.
Roger Peet is an artist, writer and printmaker in Portland, Oregon. His art focuses on civilized bad ideas, evolution and extinction, predator-prey relationships, and the contemporary crisis of biodiversity and what can and can’t be done about it. He is a member of the Justseeds Artists’ Cooperative (justseeds.org), a group of socially and environmentally engaged North American artists, and collaborates with activists, artists and scientists across the globe in the service of a more generous and a wilder world. His website is TooSphexy.com.
This project was produced with the generous assistance of the Regional Arts and Culture Council.
Medical techniques for treatment of male and female sexual dysfunction, male infertility, impotence, male menopause, vasectomy, premature ejaculation, sperm cryobanking and semen analysis to enable men and women achieve sexual health and satisfying male and female sexuality. Clinics in Purchase, NY and Norwalk, CT. www.wernermd.com/
First Thursday, November 6, 2014.
Photographs By Jennifer Hughes
PNCA presents a variety of exhibitions on campus:
Eva and Franco Mattes: Breaking Banality: The Dysfunction of Remediation
Nov 6, 2014 – Jan 10, 2015
Portland, OR, October 23, 2014 — The Philip Feldman Gallery + Project Space at Pacific Northwest College of Art (PNCA) presents Breaking Banality: The Dysfunction of Remediation, an exhibition by Eva and Franco Mattes, opening with a reception on First Thursday, November 6, 2014 and running through January 10, 2015. For the exhibition, whose title was created by an online random exhibition title generator, the Brooklyn-based Italian duo will present ten reiterations of one performance from their series “BEFNOED – By Everyone, For No One, Every Day,” for which they commission anonymous workers to realize webcam performances. The Mattes’ hire performers through online crowdsourcing services and post the resulting videos to many of the more obscure social networks around the world. The artists regularly post links to new videos at befnoed.tumblr.com. These works are in the lineage of Fluxus event scores and more recently Hans Ulrich Obrist’s instruction-based project, “Do It.” For this exhibition, to view the videos, visitors will be forced in awkward positions, becoming themselves, if just for a few seconds, performers, and underlying how the act of viewing is in itself performative.
Last Call: 2014 PNCA Staff Exhibition: Swigert Commons
Nov 6, 2014 – Nov 22, 2014
The artists and designers who make up the staff at Pacific Northwest College of Art (PNCA) are among the Portland’s most dedicated practitioners. While as a group they are diverse in their creative endeavors, they are united in their drive for a continual exploration of creative practice. The Staff Exhibition celebrates and showcases the rigor, invention, and excellence of those explorations in an exhibition that highlights the diversity and collective nature of the PNCA staff.
PNCA's Veterans Exhibition: Higgins Gallery
Nov 6, 2014 – Nov 23, 2014
PNCA’s first ever exhibition of its current students, staff, and faculty who served in the United States Military. A diverse group in their chosen mediums and topics, this exhibition showcases a variety works made from PNCA’s Veterans. Held in connection with the November 11th Veterans Day holiday.
Roger Peet: Traps, Flows, Echoes: Gallery 214
Nov 6, 2014 – Nov 28, 2014
Portland artist Roger Peet will open a show of new installation, video and print work in Gallery 214 at PNCA on the 6th November. The show, entitled “Traps, Flows, Echoes” focuses on the idea of the trap, in both the physical and cultural realms. Much of the show will focus on Peet’s relationship to the Democratic Republic of Congo, where he has worked for several seasons to promote community conservation through art. Some of the work addresses Peet’s complex relationship with his father, who faked his death to go AWOL from the British Air Force and to fly helicopters for the CIA’s interventions in Congo in the 1960’s, an event which Peet recreates in a video collaboration with Portland director Jodi Darby. In his travels and work in Congo, Peet experienced first hand the disastrous consequences of the history his father had helped to shape, and this show will contain vivid and evocative print, installation, and sound pieces that evoke the trauma and brutality of that trap of history, as well as the ways that he and the friends that he made in Congo are trying to get out of it. The work also features sound collages and poetry by Portland MC Mic Crenshaw.
Roger Peet is an artist, writer and printmaker in Portland, Oregon. His art focuses on civilized bad ideas, evolution and extinction, predator-prey relationships, and the contemporary crisis of biodiversity and what can and can’t be done about it. He is a member of the Justseeds Artists’ Cooperative (justseeds.org), a group of socially and environmentally engaged North American artists, and collaborates with activists, artists and scientists across the globe in the service of a more generous and a wilder world. His website is TooSphexy.com.
This project was produced with the generous assistance of the Regional Arts and Culture Council.
First Thursday, November 6, 2014.
Photographs By Jennifer Hughes
PNCA presents a variety of exhibitions on campus:
Eva and Franco Mattes: Breaking Banality: The Dysfunction of Remediation
Nov 6, 2014 – Jan 10, 2015
Portland, OR, October 23, 2014 — The Philip Feldman Gallery + Project Space at Pacific Northwest College of Art (PNCA) presents Breaking Banality: The Dysfunction of Remediation, an exhibition by Eva and Franco Mattes, opening with a reception on First Thursday, November 6, 2014 and running through January 10, 2015. For the exhibition, whose title was created by an online random exhibition title generator, the Brooklyn-based Italian duo will present ten reiterations of one performance from their series “BEFNOED – By Everyone, For No One, Every Day,” for which they commission anonymous workers to realize webcam performances. The Mattes’ hire performers through online crowdsourcing services and post the resulting videos to many of the more obscure social networks around the world. The artists regularly post links to new videos at befnoed.tumblr.com. These works are in the lineage of Fluxus event scores and more recently Hans Ulrich Obrist’s instruction-based project, “Do It.” For this exhibition, to view the videos, visitors will be forced in awkward positions, becoming themselves, if just for a few seconds, performers, and underlying how the act of viewing is in itself performative.
Last Call: 2014 PNCA Staff Exhibition: Swigert Commons
Nov 6, 2014 – Nov 22, 2014
The artists and designers who make up the staff at Pacific Northwest College of Art (PNCA) are among the Portland’s most dedicated practitioners. While as a group they are diverse in their creative endeavors, they are united in their drive for a continual exploration of creative practice. The Staff Exhibition celebrates and showcases the rigor, invention, and excellence of those explorations in an exhibition that highlights the diversity and collective nature of the PNCA staff.
PNCA's Veterans Exhibition: Higgins Gallery
Nov 6, 2014 – Nov 23, 2014
PNCA’s first ever exhibition of its current students, staff, and faculty who served in the United States Military. A diverse group in their chosen mediums and topics, this exhibition showcases a variety works made from PNCA’s Veterans. Held in connection with the November 11th Veterans Day holiday.
Roger Peet: Traps, Flows, Echoes: Gallery 214
Nov 6, 2014 – Nov 28, 2014
Portland artist Roger Peet will open a show of new installation, video and print work in Gallery 214 at PNCA on the 6th November. The show, entitled “Traps, Flows, Echoes” focuses on the idea of the trap, in both the physical and cultural realms. Much of the show will focus on Peet’s relationship to the Democratic Republic of Congo, where he has worked for several seasons to promote community conservation through art. Some of the work addresses Peet’s complex relationship with his father, who faked his death to go AWOL from the British Air Force and to fly helicopters for the CIA’s interventions in Congo in the 1960’s, an event which Peet recreates in a video collaboration with Portland director Jodi Darby. In his travels and work in Congo, Peet experienced first hand the disastrous consequences of the history his father had helped to shape, and this show will contain vivid and evocative print, installation, and sound pieces that evoke the trauma and brutality of that trap of history, as well as the ways that he and the friends that he made in Congo are trying to get out of it. The work also features sound collages and poetry by Portland MC Mic Crenshaw.
Roger Peet is an artist, writer and printmaker in Portland, Oregon. His art focuses on civilized bad ideas, evolution and extinction, predator-prey relationships, and the contemporary crisis of biodiversity and what can and can’t be done about it. He is a member of the Justseeds Artists’ Cooperative (justseeds.org), a group of socially and environmentally engaged North American artists, and collaborates with activists, artists and scientists across the globe in the service of a more generous and a wilder world. His website is TooSphexy.com.
This project was produced with the generous assistance of the Regional Arts and Culture Council.
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- Oprah Winfrey
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NYAF+NYCC 10-15-2011_ Masquerade - Skit 9 - Green Arrow & Black Canary 42 years of Hot Dysfunction
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Event: NYAF+NYCC at the Jacob Javits Center
Date: October 15, 2011
Masquerade - Skit 9 - Green Arrow & Black Canary 42 years of Hot Dysfunction DC Comics
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Alcool lead, even social consumption, to brain dysfunction. I posted this photo to show a huge social lie. Even in poetry, art and sacred books vine is seen like an elixir, like an arhetipal drink and many poets said "like wine are your lips my love" and things like that, But the scientific truth is that the state created, euforic state of a glass of wine si in fact due to an intoxication with a poison which in great quantities can lead to death.
First Thursday, November 6, 2014.
Photographs By Jennifer Hughes
PNCA presents a variety of exhibitions on campus:
Eva and Franco Mattes: Breaking Banality: The Dysfunction of Remediation
Nov 6, 2014 – Jan 10, 2015
Portland, OR, October 23, 2014 — The Philip Feldman Gallery + Project Space at Pacific Northwest College of Art (PNCA) presents Breaking Banality: The Dysfunction of Remediation, an exhibition by Eva and Franco Mattes, opening with a reception on First Thursday, November 6, 2014 and running through January 10, 2015. For the exhibition, whose title was created by an online random exhibition title generator, the Brooklyn-based Italian duo will present ten reiterations of one performance from their series “BEFNOED – By Everyone, For No One, Every Day,” for which they commission anonymous workers to realize webcam performances. The Mattes’ hire performers through online crowdsourcing services and post the resulting videos to many of the more obscure social networks around the world. The artists regularly post links to new videos at befnoed.tumblr.com. These works are in the lineage of Fluxus event scores and more recently Hans Ulrich Obrist’s instruction-based project, “Do It.” For this exhibition, to view the videos, visitors will be forced in awkward positions, becoming themselves, if just for a few seconds, performers, and underlying how the act of viewing is in itself performative.
Last Call: 2014 PNCA Staff Exhibition: Swigert Commons
Nov 6, 2014 – Nov 22, 2014
The artists and designers who make up the staff at Pacific Northwest College of Art (PNCA) are among the Portland’s most dedicated practitioners. While as a group they are diverse in their creative endeavors, they are united in their drive for a continual exploration of creative practice. The Staff Exhibition celebrates and showcases the rigor, invention, and excellence of those explorations in an exhibition that highlights the diversity and collective nature of the PNCA staff.
PNCA's Veterans Exhibition: Higgins Gallery
Nov 6, 2014 – Nov 23, 2014
PNCA’s first ever exhibition of its current students, staff, and faculty who served in the United States Military. A diverse group in their chosen mediums and topics, this exhibition showcases a variety works made from PNCA’s Veterans. Held in connection with the November 11th Veterans Day holiday.
Roger Peet: Traps, Flows, Echoes: Gallery 214
Nov 6, 2014 – Nov 28, 2014
Portland artist Roger Peet will open a show of new installation, video and print work in Gallery 214 at PNCA on the 6th November. The show, entitled “Traps, Flows, Echoes” focuses on the idea of the trap, in both the physical and cultural realms. Much of the show will focus on Peet’s relationship to the Democratic Republic of Congo, where he has worked for several seasons to promote community conservation through art. Some of the work addresses Peet’s complex relationship with his father, who faked his death to go AWOL from the British Air Force and to fly helicopters for the CIA’s interventions in Congo in the 1960’s, an event which Peet recreates in a video collaboration with Portland director Jodi Darby. In his travels and work in Congo, Peet experienced first hand the disastrous consequences of the history his father had helped to shape, and this show will contain vivid and evocative print, installation, and sound pieces that evoke the trauma and brutality of that trap of history, as well as the ways that he and the friends that he made in Congo are trying to get out of it. The work also features sound collages and poetry by Portland MC Mic Crenshaw.
Roger Peet is an artist, writer and printmaker in Portland, Oregon. His art focuses on civilized bad ideas, evolution and extinction, predator-prey relationships, and the contemporary crisis of biodiversity and what can and can’t be done about it. He is a member of the Justseeds Artists’ Cooperative (justseeds.org), a group of socially and environmentally engaged North American artists, and collaborates with activists, artists and scientists across the globe in the service of a more generous and a wilder world. His website is TooSphexy.com.
This project was produced with the generous assistance of the Regional Arts and Culture Council.
The We're Here! gang is investigating Christmas dysfunction today. These shoes were a gift from my friend Robin. They are super cool, and I really like them...but who gives shoes for Christmas? They were from a thrift store. I would never buy shoes at a thrift store. LOL But fine. And of course they fit...but she certainly took a gamble on that. You can't just buy shoes for other people! LOL