A large scale reenactment of the table-top dice game of strategy and luck
a collaborative installation by Lauren Pakradooni and Mark Rice
The original game of 10,000 requires six standard dice and a pencil and paper for scoring. Each player starts out “off the table” with a score of zero. Players collect points in a variety of ways during their turn, either adding those points to their cumulative score, or “risking it all” by continuing to roll with a possibility of loosing all points they have accumulated in that turn if the correct scoring combination is not achieved. The first player to reach the score of 10,000 wins!
10,000 is a game taught verbally, passed from person to person at a party, a bar, a classroom, or other places where people congregate. As people learn the game they develop their own terminology for the types of scoring, methods of play, as well as variations on the name of the game itself. We introduced this game to attendees of Artscape 2014 in Baltimore, Maryland as a part of the interactive art exhibition “Field Day.”
Our submission for the Field Day exhibit was be a large-scale adaptation of this game. We constructed several sets of dice, the largest being six foam 12” cubes wrapped in silkscreened fabric . The usual playing surface of a bar or picnic table was transformed into an astro turf court with seating for spectators. The usual scoring device of napkin and pen was traded for a large chalk score boards. The usual exclusivity of the table-top version of the game was exchanged for an interactive and inviting environment for both players and spectators to learn the rules and cheer on their favorite players. Handmade prizes were awarded for top scoring players!
The installation was accompanied by a small gift shop where visitors to the installation can peruse and purchase souvenirs including dice-themed sportswear, silkscreen posters, patches, tote bags, and original miniature game sets.
Pictured below are documentation photos of the installation in action and on site at Artscape 2014, followed by photos of the products conceived for the gift shop, and then some shots on the work in progress.
Puzzle Tout Nouveau are one-of-a-kind paintings executed on salvaged and reassembled puzzles.
Puzzles are found, assembled, and then the image is rendered on the completed puzzle.
Finally, the puzzle is disassembled, and re-boxed in a salvaged and repurposed container with a reference photo and convenient viewing window.
The Manliness of Peanut Butter and Jelly is a 41-page paperback book. The story is written by Travis Blankenship with illustrations by Mark Rice executed in ink wash.
Here is a description written by the author, Travis Blankenship.
“In The Manliness of Peanut Butter & Jelly, four young boys battle one another in a culinary competition as stomach-churning as it is heart-warming. Struggling to identify as men, these boys build their confidence in victory and the bonds established with others in a story that unfolds when the school cafeteria serves a dreaded pizza. Ink wash illustrations by Mark Rice highlight standout moments, as the tension in this essay by Travis Blankenship builds.”
Below is a link to purchase the book followed by some pics of the finished product.
The Gamma Tapes is a series of prints, drawings, and painted sculptures about the early life of my immediate family: my father, mother, and sister. Being that we are all living in different parts of the world right now, I found that this was a way to continue work on childhood stories and imagery, but to focus the attention away from myself as the subject, therefore learning, relearning, reinterpreting, and reconnecting with stories from my family’s past.
The project began by carving a visual portrait of each member of the family. Soon following this, I interviewed each person about instances in there formative years that were not necessarily important, but were “memorable,” specifically in the visual sense.
All text was translated from English to Rungish, and then combined with the imagery from the stories. These works reference both the subject, the subject as narrator, and myself as illustrator.
Many stories contained a certain amount of “unattainable information.” These instances are marked with a reference number and relegated to the library of gamma tapes (an out-dated and unplayable media format) that the viewer may reference at their leisure. Many of the tapes are out of order, missing, or damaged, but otherwise in good condition. Each tape label is written in Rungish, with a corresponding gouache painting, all tucked inside a silkscreened tape case.
Below is photo documentation and reference photos of two installed iterations of this project entitled Yung Mail Tails: Another Reading Room Annex. The first was at the Hampden Gallery at UMASS Amherst in October of 2013 and the second was part of a exhibition called “Kodachromia & Perspectrum” at the Hastings College Gallery in Hastings, Nebraska in March of 2014.
Dear Dairy is a 8.5 x 11 inch college-ruled notebook that was passed back and forth through the United States Postal Service between artists Jeremy Kennedy (Los Angeles, CA) and Mark Rice (Philadelphia, PA) between November of 2012 and October of 2013. Themes of television, to-do lists, psycho-doodles, sports, cartoons, and “mental-drooling” predominate the conception of this work and responses were created to and with these ideas in an effort to continue and finally complete this conversation/debate/root beer party.
For more works by Jeremy Kennedy, please visit table-blue.com
Pages are displayed in sequence followed by a movie trailer-themed short video for the book.
REAM is a collaboration between Mark Rice (Philadelphia) and Lou Joseph (Baltimore), which was installed at the new Station North Chicken Box on the corner of Charles and North Ave in Baltimore, July 19 to 28, 2013.
Lou and Mark began with 500 sheets of office paper mailed back and forth over a ten-month period, each artist adding and subtracting layers with ink, paint, collage, stickers, spray paint, etc, to come up with 500 individual drawings. Using those images as raw materials, they have edited these drawings and reworked them into large-scale digital prints which were displayed in frames to create a large flowchart, which both explain and obfuscate the various meanings and processes behind the work.
Thanks to Station North Arts District and Towson University for their support in the realization of this project.
What follows is a selection of photos at various stages of the process documenting the progress of the works. These photos are followed by documentation of the exhibition, and then photos of the works individually.
During the summer of 2012, I commenced a new series of work with a large mural in Bloomington, Indiana, and several unsanctioned mini-residencies in strip malls across the midwestern United States. The mini-residencies were performed in a 1971 Shasta Compact travel trailer that I have transformed into a mobile art studio. During my time in residence, I camped, photographed, wrote, and sketched the landscape from in my little mobile aluminum cabin.
These “residencies” yielded a new series of paintings, drawings and sculptures offering a playful commentary on the advertisement and vast environment of the assorted strip malls and shopping plazas that populate the American roadsides. The immense scale and screaming color of the advertisements and signage in these areas contrasts greatly with the logos that conform to familiar layout, offering a feeling of anonymity to the potential shopper/camper/artist. While these areas have a dullness, emptiness, and overall sameness that makes them forgettable, it is this sameness, evenness, and familiar anonymous quality that allow these areas to generate a safe mental respite with an ominous potential for danger.
A simplified color palette and mixture of common, low-cost, and scavenged materials works to instill a high-art veneer that is thin-skinned. The creation of these compositions is considered as quick, fleeting, and disposable as the lifespan of the subjects they reference. These images present a type of picture that is aware of its own inability to achieve objectivity, as the Kodachrome snapshot or the text message. They revel in their own brevity and lack of subtle commentary as they address an environment focused singularly on a short-term existence.
The first installation shots in this photo set were part of a exhibition called “Kodachromia & Perspectrum” at the Hastings College Gallery in Hastings, Nebraska in March of 2014.
This work was also shown in Baltimore….Bloomington, Illinois…..and Spartanburg, South Carolina.
Thanks to those artists and organizers who put those shows together, and the folks that attended.