Voyage Corps Store is a 1971 Shasta Compact travel trailer that I have converted into a mobile art studio. For the purposes of this installation, the trailer was further converted into a small store of products. Visitors to the store were able to enter and peruse the inventory, as well as purchase items at affordable prices ranging from $1.00 to $12.00.
Coming from a culture of touring the country with musical groups, Voyage Corps Gifts and the Voyage Corps Store offer the “merch table” experience in an art gallery setting. In its previous incarnations, these products have worked as sketches and mockups for future works in print, sculpture, and installation. The store works as a proving ground, test market, and fundraising venture to simultaneously offer affordable art, raise money for future projects, and gauge public interest in experiments utilizing different materials, subject matter, packaging, and presentation.
The installation in the trailer mimics both the salon-style hanging of art galleries and the visual frenzy and eclectic, sometimes “slap-dash” organization of dollar store displays, working to over-stimulate the viewer in the claustrophobic space inside the 6’ by 9’ dimensions of the trailer.
This installation was shown at Maspeth’s World of Wheels on June 21, 2014 at the Knockdown Center in Queens, NY, and at the 2014 Truck Expo at the ICEBOX in Crane Arts Building on July 5, 2014 in Philadelphia, PA.
What follows are documentation photos of the trailer installed and then photo “ads” that played on a loop on a small digital picture frame inside the trailer during the exhibit. The soundtrack playing inside the trailer during the exhibitions can be found here.
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.
This is slide show of photos documenting the transformation of a 1971 Shasta Compact into the “MOTHERSHIP” or “M.A.R.C.” (Mobile Artist Residency Camper”) as well as photos documenting the travels of a corresponding “mobile artist residency” between May and August of 2012.
music by THIT
Musical assistance by Eric Kocher and Steve Snell
an exhibition by Lou Joseph and Mark Rice
421 N. Howard St. Baltimore, MD
August 4 to 19, 2012
opening reception Aug 4, 6-9pm
closing reception Aug 17, 6-9pm
The work in this show addresses the cycles and dead ends of history, exploring cultural redundancy, political shame, apocalypse predictions and conspiracy theories. To this end, Rice and Joseph use reenactments, cover songs, footage of dangerous pursuits, and catalogs of the initially meaningless, but ultimately important.
Mark Rice’s homemade games employ elements of intentional repetition, loss, and optimistic redundancy. In these videos, advertising lures viewers and promotes the games, but the works are also wrung though alternative theories of living and changed by the repeated process of telling and retelling.
Lou Joseph uses a variety of processes to reproduce online images of fracking sites, contrails and fortune-tellers of doom. Signs of decline are presented in a frank, non-narrative, non-persuasive fashion, leaving open the question of mass response or (lack of response) to events that expand beyond the control of their witnesses.
This show presents equipment from Mark’s “Spray the Hooray” games, as well as video documents of the games in play. Lou shows three new series of drawings, paintings and prints. A collection of projects that the artists have collaborated on over the last ten years is also included.
All non-circular posters by Pete Shreiner. Thanks, Pete!
The Installations for FLF compromised the initial inspiration for the FLF series and were some of the original works that were then documented in copper and wood engravings. Varied mediums such as sculpture, screen print, animation, projection, and collage were all employed to illustrate the story of Kevinator. These installations were later drawn and then reproduced to create the FLF portfolio.
A message from Goatmother Industrial:
“THIT is the label attached to all sound projects of a solo nature. This includes works in electronic, pop, concept, and field recording.
The gravitational pull of musical collaboration is a strong and unrelenting force, creating a spiderweb of new, frightful, and compatible pairings creating disparate sounds that pan and scan the universe of classification.
THIT was formed in Providence for an art exhibit in the Gelman Gallery at the Rhode Island School of Design in the fall of 2009. The piece put forth by the newest audio arm of Goatmother Industrial included a musical performance, a record release, and a “merch wall.” The musical performance included a melody of unfinished songs written and recorded during the previous months. These songs were performed with a drum set, two guitars and a bass tuned to work as percussion, a ukulele, a tape deck, and vocals. The album entitled Cream was released during this show along with other merchandise ( including t-shirts and autographed posters) on the Merch Wall. The Merch Wall worked as a wonderful display for the products (created by Voyage Corps Gifts), served to obscure the performer, and was useful as a music stand to help remember lyrics and musical changes. The remnants of these three aspects of the piece worked together to form an installation that remained in the gallery for the rest of the exhibition as documentation. Here are some photos from that performance and subsequent installation:
What follows is a chronological list of releases by THIT. (click album title to link)
All releases are available streaming at:
This is the first album by THIT. Originally released as 17 one-of-a-kind singles, this album is a compilation of recordings made between 2006 and 2009. Guest musicians such as Chris Barth, Mikey Kapinus, ZURI, and G.K. round out this lo-fi section of demo recordings. This is a piece made of pieces. All songs are unfinished, excluding THIT 13, which is a cover of a song by The Donkeys (aka California’s Royal Jewel).
This sophomore effort by THIT seems to offer a transitional state between sounds and song. Written as a concept EP for the future faith that is Fantum Limb Fanamatronix, this 5-song ode offers a post-apocalyptic glimpse into the origins of FLF. Each song is written to accompany a 6 inch square copper engraving. The combination of these prints and songs lead the viewer/listener through a short origin story of an all-male epoch with a fear of skin, a common enemy, and a desire for immortality.
The 3rd release by THIT is a series of five album singles exploring “drones” and “emphasis” in the keys of C, D, E, G, and B. This self-described “cycle” leads the listener through each key, easing in slow, revving up, and cooling down, each album contains one “song” and if played in order up the piano, these albums form a meditative arc, that is unmistakable. The psychical album is an experiment in packaging (or possibly “over-packaging”) offering five separately packaged CDs in silkscreened, hand-printed, and spray painted album artwork. Each album includes linear notes and an 11 in x 17 in five layer silkscreened poster. All are bound together in a silkscreened cardboard wrap in a limited edition of 25.
This album features the soundtrack to the kite exhibition and movie of the same name, SPF 2010. This exhibition took place on September 14, 2010 on Horseneck Beach, MA and was curated by Lauren Pakradooni and Mark Rice.
All music written and performed by PAKTHIT except the final track, written by David Vandervelde.This is the first musical collaboration between PAK and THIT.
To see the entire movie visit: www.youtube.com/watch?v=hSFbGgeZF74
This album consists of one song that was performed live at the Fletcher Building Room 207 at the Rhode Island School of Design on November 14, 2010 by PAK and THIT. Instrumentation was shared and included, electric guitars, drum set, no-input mixer, loop tapes, keyboards, and vocals. The entirety of the song was performed behind a false paper wall.
“Aboard the ship, you can feel the speed in your body. and you can feel it when it slows down, speeds up, or stops”
This is the only public statement made about this album. Fans have speculated that a similarity is present to the drones that are audible during a long trip in a car with the radio off. Hypnotic. Hypnotic. Rinse and repeat.
SUPERPOSITION is Ian Quate and THIT.
This is the single for the song “Block Island.”
WE PUT THE SCIENCE BACK IN CONSCIENCE.
released 01 June 2011
Recorded in Room 207, Providence, RI
Lyrics and Vox by Ian Quate
Produced by THIT and Superposition
“Perspectives” Soundtrack – Art Loeb and the Trailers
This album is the first proper collaboration between Mark Rice and Eric Kocher. It takes the form of a soundtrack for the series of short videos by artist Steve Snell, called “Perspectives.”
The album was released in August of 2011, as the soundtrack for the videos, but was never properly released as an album until December 2011. All music composed and performed by Eric Kocher and Mark Rice.
The videos are performed by Kari Jackson, Eric Kocher, Mark Rice, and Steve Snell
The videos by Steve Snell can be viewed at the following links,
just click on the name of the person to view their perspective:
for more video and artwork by artist Steve Snell, visit his website at:
Z398 – (pre) THIT
Roughly twelve years after its creation, this small sampling of songs is all that remains from many late nights hunched over a beautiful synth in the Music Library at Indiana University. This alum was recorded in Digital Performer using one of the many Kurzweil synthesizers in the midi lab, where the Introduction to MIDI Music class was taught. call number Z398. Many songs were lost over the years due to misplacement, rerecording, and/or evolution of recording format (zip, min-disc, etc.) This selection was poorly transferred to a small tape deck in 1999, then recently digitized. (Pardon the hiss.)This album was released on the 24th of December in 2011.
- Recorded in Indiana University’s Music Library,
- late at night,
- under the influence in 1999.
- Total Recaller
- The album is a section of field recordings/interviews collected between December 2009 and January 2012. Each recording is a solicited interview, asking the interviewees to recall the plot of the same sci-fi movie (undisclosed).
- TOTALL RECALL IS A COLLECTION OF
OF THE PLOT SYNOPSIS OF A MOVIE
THAT WAS RELEASED IN 1990
AND TAKES PLACE IN THE YEAR 2083.
- Released February 1st, 2012
ONE OF THREE DEVICES:
A ZOOM MICROPHONE, A RADIO SHACK
OR MY SAMSUNG CELLUAR PHONE.
It is focused on the appropriation and manufacturing of redesigned
leisure sports. This Compact Disc gathers together the efforts of THIT,
Goatmother’s audio department, in this selection of eleven songs.
These songs were composed, performed and recorded by THIT
in Spartanburg, South Carolina between August 2011 and January 2012.
Each song was commissioned as part of the advertising campaign for
the eleven different items that comprise the SPRAY THE HOORAY
Choreographed by Carlos Agudelo.
This ballet was performed at the Chapman Cultural Center in Spartanburg, South Carolina by the Spartan Arts Ballet Company on March 29th, 2012 at 7pm.
Long Arms Little Dad is Eric Kocher.
THIT is Mark Rice.
Mulch! is Mark Rice and Eric Kocher.
All songs written, performed, and recorded by Mark Rice
“Grollis-Hon” utilizes the melody from “Allison” by the Pixies and was recorded with the help of Jonathan Cargill.
“Mr. Peace” is by Bob D.
Thit (Soundage) is an entity that swirls with the twirl of artist Mark Rice’s all-encompassing Goatmother Industrial umbrella. Throughout the catalog, that rotation often, and sometimes drastically, switches direction. In that sense, New Happy Baby is no departure, but in that sense only.
The carefully crafted shrapnel of previous work remains embedded here, but this time around the protruding edges emerge just as sharp, but less jagged. With a few cables unplugged, a few knobs turned down, this release pours out some songwriting that has been held in a wonderfully disorienting check by lots of ketchup, and mustard, and buzzes for a long while.
New Happy Baby wipes some of the snot and lemon juice off of the gazing ball with the welcomed addition of rattled but relatable singing. Thit’s mix of idea splices and experiential collection parks itself here like a vehicle with an unexpired license plate.
All that being said, this recording doesn’t skip on Rice’s ability to touch and repurpose every instrument in the shop. From melted air organ to pressed guitars, to methed-up banjo style bass trips…and sometimes the drums go “boom, bang, boomer, click, lick, bang, boom.”
The feel: Selected admissions similar to how we skip work sometimes for no real reason, except that we don’t want to go.
There are references. Find them yourself, if that’s important to you. You may find your new favorite song.
-Tyco Riley (2013)