Tuesday, November 30, 2010

Say hello to Chris Engman

DUST TO DUST, 2010, archival inkjet print

I think many folks might be surprised at the amount of preparation, calculation and determination required to create one of your photographs. Can you walk us through a piece
like Dust to Dust, from conception to completion?

Dust to Dust is a photographic diptych- on the left a photograph of a pile of gravel, and on the right a photograph of a very similar looking pile of gravel, sculpted from the same material, on the same spot of land, but rotated 135 degrees. Conception began with an observation about the way the sun traverses across the sky: that other than solar noon when the sun is the highest it will get, every other moment during the day has a twin moment when the height of the sun relative to the horizon is identical. From this observation I realized I could recreate a scene, including the light and shadows falling on it, by rotating an object and carefully timing my shots.

After selecting a site and material and finding a front-end loader operator I could work with, we got to work making the first pile. A radial map was drawn straight onto the ground using spray paint. A gravel mound was built and shaped on top. Referencing the map I had made I was able to draw a diagram of the footprint of the mound in its original position. The first photograph was made at 9:58 am the next day. The mound in its second incarnation was constructed using the footprint diagram and snapshots of the original mound as reference tools, first with heavy equipment, then with shovels and rakes and finally by hand. The second photograph was made at 4:04 pm one day after the first. Clouds had filled the sky all day but the sun broke about ten minutes before my shot, just in time. The entire process involved four trips to a site five hours east of Seattle.

I love thinking about how the material in this piece was used first to create one mound, then the second, and is now probably part of a road or the foundation of somebody’s house. In the same way the physical material used to make up my body is borrowed and someday will no longer belong to me. Same for you. Absolutely everything is temporary, and that is what this piece is about.

VARIATIONS, 2010, archival inkjet print, 52 x 44 inches

In addition to the intricate planning, many photographs seem designed to test your physical and mental limits; as if the art is a vehicle to create personal challenges. Your piece Variations required you to rearrange a stack of barrels 120 times over a period of 2 days? If you made one error, you would have had to start over - why put yourself through that?

The art is definitely a vehicle to create personal challenges but most of the time I enjoy those challenges. Variations was a pleasure to make. It was shot over two days, 60 pictures per day, each shot exactly 10 minutes apart, from 8 am until 5:50 pm on two consecutive days: May 22nd and 23rd, 2010. Physically it was actually less arduous than many of my photographs, and I took a real joy out of seeing a predetermined pattern play itself out in very slow motion over the course of two days. I worked very systematically to avoid any errors, and in truth I wasn’t worried about making any. If I had made a mistake I would have gladly started over. When I’m working on a project that I love working on it doesn’t matter to me how long it takes, in fact sometimes I regret when it’s over.

THREE MOMENTS, 2009, archival inkjet print, 48 x 38 inches

Pieces like Three Moments and Equivalence examine the intersection between past and present. What's most compelling about this convergence to you?

We only ever get to experience one instant of time at a time. The future doesn’t exist yet, the past no longer exists, and the present is fleeting and intangible. For the past there is only memory, and photographs provide fixed images for memory. In the piece Three Moments are three highly labored records of moments, each a month apart, each isolated and made into physical objects. The second moment attempts to recapture the first, while the third attempts to recapture them both. The result is meant to feel like a return to a place that may not seem to have changed, yet- since every instance of time and place is singular- it is perpetually and irrevocably being lost.

INVERSE NEGATIVE, 2010, inkjet print, 38 x 48 inches

You frequently work in rural and/or remote areas. Has anything unusual ever happened?

Well, I do sometimes work in very remote areas, and it enhances the overall experience for me to be so isolated so long as all goes well. However all does not always go well. The most frightening experience I’ve had on a shoot was the time I got my rental car stuck way way out on the Black Rock Desert, 31 miles from town. I spent an uneasy night in the car kept awake by the strongest winds I’ve ever seen or heard. The next day I walked out, completely exposed and feeling very vulnerable. If nothing else the experience gave me a greater appreciation for the power that the desert and the elements have over us.

EMPTY FRAME, 2010, archival inkjet print

You recently dipped your toe into the fashion world. How did that come about?

Last year I was invited to go to France to participate in the Hyeres Fashion and Photography Festival. Chauney and I went, and it was a lot of fun. We got haircuts and wore our nicest clothes but stuck out like sore thumbs just the same. Ten young fine art photographers were chosen from around the world, given an exhibition, and then basically they tried to get us to go into fashion photography. I could be working for Prada or Gucci! One art director, seeing that I was skeptical, told me she would just send me a dress and I could do anything I wanted with it, no restrictions. But the dress is a restriction, as I see it, and I don’t know how to make art about a dress, so I turned it down.

EQUIVALENCE, 2009, inkjet print, 38 x 48 inches

I don't think one of your structures would have felt out of place in this exhibition. Do you ever consider displaying them, either as a sculpture or as supplementary material? Or are they strictly a way to achieve the final photograph?

I hear that more and more. My projects really are designed to be photographs, though, which I think is something that makes my work distinguishable from, say, the earthworks artists. On the other hand I am more receptive to the idea than I used to be and I think it is very likely that in the near future I will be making work that is almost as much sculptural as photographic.

ABANDONED CRATES, 2007, archival inkjet print

In a recent talk, you discussed the idea of inserting your version of order onto nature's order. Do you have a desire to conquer nature? Or do you view it as working with nature, rather than against it?

Definitely the latter. In the case of Variations, there is a precise and detailed order to the way the barrels are arranged and rearranged. In the same way that a mathematician strives not just to solve a problem but solve the problem in the most elegant way possible, it was my desire to arrange the barrels in the most rational and elegant way possible. To find not my way, but the way. I see these photographs as attempts to bear witness to order that is observable but outside of myself, and much larger than myself. They are acts of appreciation and participation.

SENESCENCE, 2010, archival inkjet print

Art is traditionally considered an emotional pursuit, but your approach to art-making appears scientific/rational at first glance.

For me the work is emotive, because I experience the process and the unfolding of events as beautiful. But admittedly it is a cerebral kind of beauty that might not be immediately recognizable to the viewer. Rather it has to be discovered or deduced. When I talk about the work I talk a lot about the process because that’s where the art is, in the action, in how it was done. I had to figure out how to do it, and I enjoyed the figuring it out. The viewer, too, has to figure out how it was done, that is intentional, and I don’t always make it easy but I do leave clues. My hope is that the viewer will enjoy the figuring it out too, and in that process experience the work the way I did. It is a scientific approach, but it is very much an emotional pursuit as well.

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Chris Engman's Dust to Dust will be on display at Greg Kucera Gallery through December 24th.

Brad Woodfin / Sloan Fine Art

Hey New Yorkers (and those that travel) - there's a great show opening up later this month at Sloan Fine Art.

Ibis, 2010, by Brad Woodfin
oil on panel, 16" x 20"

My friend Brad Woodfin has been busy making more of his amazing chiaroscuro-style paintings of animals. I just love these.

Curlew, 2010 by Brad Woodfin,
oil on panel, 8" x 10"

The Strangers opens up Thursday, Dec 16 (closes Feb 16) along with Marion Peck's show, What You Are, So Once Were We. Wish I could make it!

Sunday, November 28, 2010

Charles Le Dray / The Whitney

Charles, 1995, by Charles Le Dray (image via)
Fabric, thread, metal, plastic, paint, 19 × 14 × 4 ½ inches

It'd be a perfect day to teleport to NYC and go the Whitney to see this Charles Le Dray show.

Cricket Cage, 2002 by Charles Le Dray, image by Tom Powel
Human bone, 3 3/8 × 3 3/8 × 1 7/16 inches

Saturday, November 27, 2010

Last chance / PUNCH Gallery

Fale Spring, 2006 by Renee Adams (photo via)
wood, acrylic paint, flocking, steel, polymer clay

Hey folks - today is the last day to buy a ticket that just might win you an entire gallery of art. PUNCH Gallery will be drawing the name of the winner tonight at 5pm. As a member of SOIL (also a cooperative gallery), I know how important these annual fundraisers are in defraying costs, so I guarantee they appreciate your support. As you most likely already know, PUNCH is full of swell folks, most living east of the mountains, and Seattle is lucky to have a satellite branch for their creativity. I already got my ticket.

Also, for those who might not have been able to afford the $10 purchase price, PUNCH fulfilled their legal obligations by offering an awesome no-payment option.
Free Method of Entry: If you do not wish to donate to PUNCH Gallery during the promotion period, you may receive one free entry per address by creating an original drawing of a pugilist on a 5.5" x 8" sheet of paper with your name, address, phone number and email written on the back. Mail the drawing along with a SASE to: PUNCH GALLERY, PO Box 555, Ellensburg, WA 98926. Entries must be postmarked after November 1, 2010 and received by November 20, 2010. By choosing the Free Method of entry, you agree to give PUNCH Gallery full rights and copyright authority for your image. PUNCH Gallery may in turn publish or sell your image for future fundraising projects.
I wish I had seen that earlier. I've been wanting to draw a pugilist anyway!

Update: Congrats to Karen M. from Boise, Idaho! I don't know how you nabbed my winning ticket but congratulations anyway.

Friday, November 26, 2010

Embroidered lithographs by Shaun Kardinal

Near Oregon City, 2010 by Shaun Kardinal
Hand-embroidered collage with promotional lithograph, 10 x 8 inches

I was just looking at this site and ran into these beautiful embroidered lithographs and thought, "OMG!!" and then I looked down and saw that they were made by Seattle's own Shaun Kardinal. Wow. I just love these. He's taken his embroidered postcards to a whole new level!

Seattle, Washington, 2010 by Shaun Kardinal
Hand-embroidered collage with promotional lithograph, 10 x 8 inches

Groups vs. 1:1

collaboration with Susanna Bluhm

I have transitioned into full-on hermit mode. The idea of a group anything sounds overwhelming* lately and so I've been spending lots of time in the studio delicately avoiding people.

Instead of group activities, I've been focusing on 1:1 time with people and it's been a real nice. It seems like I just hardly ever get to interact with folks one on one and I've just loved the conversations I've been having lately with other friends and artists.

Today was especially nice; I got to spend a four hour block working with Susanna Bluhm. We're working on a video for a SOIL show early next year that she and Amanda Manitach are curating called Bloom & Collapse. It will be an interesting show, full of pairs of artists collaborating around the ideas of growth and decay and its variants.

*except our annual Turkey Bowl tomorrow - I can't wait for that!!

Wednesday, November 24, 2010

Gretchen Bennett / LMCC Residency

“Ruskin’s Study for a King Fisher” 

2010 by Gretchen Bennett
Colored pencils on paper. 
26" x 32"

Gretchen Bennett is winding down her Lower Manhattan Cultural Council Swing Space residency and will coming back to Seattle soon! If you are curious as to what she's been up to, check out MoMA PS1's Studio Visit page. I'm loving these new drawings.

Monday, November 22, 2010

William Cumming (1917-2010)

My Dog by William Cumming (image via)

I never got to meet William Cumming but I've loved his work since first seeing it at a Frye retrospective in 2005.
"William Cumming is a native of Kalispell, Montana, and grew up in Tukwila, Washington. Largely a self-taught artist, he began his career as a painter working on the WPA Federal Art Project in Seattle from 1938 to 1940. William Cumming was the youngest member of the "Northwest School" of artists, whose members included Mark Tobey, Morris Graves, Kenneth Callahan, and Guy Anderson." - Woodside / Braseth

Vital 5 Review! - Tuesday night

image via

Tomorrow night (Tuesday 11/22), at The Hideout, they're launching the 10th edition of their Vital 5 Review. It promises to be, "...80 pages of your drunken doodles and deep thoughts, and as always, it is juvenile, tasteless and absolutely brilliant." Sounds like a fun and festive way to step out of the cold.

Sunday, November 21, 2010

Insects and Alphabets / Curtis Steiner

Curtis Steiner opened up a new show of his calligraphic flourishes done over the past year called Insects and Alphabets. Even if you don't think you have, you've probably seen his work on the 4th floor of SAM. He did that great piece 1,000 blocks. Curtis, as you probably know, is also the owner of the amazing Ballard shop Souvenir - which is one of the best places in town to window shop.

Friday, November 19, 2010

City Arts Best Of Art Walk Award / 2010

For the final art walk award and after party of 2010, we've decided to mix it up a bit. Instead of walking around with 2 guest judges, I invited five Seattle arts leaders to think back on all the art they saw in 2010 and each choose a favorite piece they saw by a local artist. On Thursday, Dec. 2, you are invited* to come celebrate a fantastic year of art and vote on your favorite.

Here are the six finalists. You decide who wins $1000!

Acrylic on canvas, 36” x 48"

GRANT BARNHART - Killing Time with Sleeping Pills
Selected by Regina Hackett / Art critic, Another Bouncing Ball

“The old horse whose ragged breath congests in a clotted stream is wrapped in the consolations of color, fall trees behind her and flowers at her feet. Blooms surge as she recedes. For all her weight, she's drifting like a hair or a feather on a cloudy mixture of memory.” - Regina Hackett

Copper plate etching

Selected by Diana Adams / Vermillion

"At 84, Ree Brown is an inspiration to anyone who thinks they are not an artist, not good enough to measure, or can't understand why the world is so dense."

"This piece simply epitomizes an emotion for me and came to fruition through a series of events which gives a strong sense of foundation - of how the world can help you carry your load; the essence of the practice of creativity - and how you just have to keep doing it." - Diana Adams

Carved wood, each 6” x 1.75” x 1.75”.
Installation approximately 6 x 70 x 12 inches

MATT BROWNING - Tradition as Adaptive Strategy
Selected by Yoko Ott / Director, Open Satellite

“It was a departure from most of the work we had seen up to that moment. Thirty-four funnel-shaped statuettes were painstakingly carved from solid pieces of fir then filled to overflowing with pitch made from sap the artist gathered from pine trees throughout the Northwest. Inspired by The Pitch Drop Experiment—the longest continuously running scientific experiment in the world started in 1927 that is measuring the flow of seemingly solid substances—it was brilliant, expertly weaving together many threads. His use of narrative was as engaging as ever.

Further consider how he placed the work in the gallery. Given free-reign of the super-sized exhibition space the artist selected the area intended to function as the social space of the gallery, then proceeded to dramatically alter its characteristics. Removing all its domestic features, erasing its color scheme, tearing down interior architectural elements, and tucking his work away in the corner on a hearth-cum-pedestal. This impressive co-option of space highlights the co-authorship inherent in exhibition practice; a gesture I was personally inspired by.” - Yoko Ott

Lightbox, 30" x 45" x 5

Selected by Joey Veltkamp / Artist, Blogger, City Arts contributor

“More than any other show this year, I found myself thinking about Jennifer Campbell's exhibition Point No Point at Gallery4Culture. It was full of work that appeared effortless, occupying the space between intellect, humor, and accessibility. Selecting a favorite piece was nearly impossible but at the end of the day the transformation of person into rainbow won me over. Set against the emerald backdrop of the Northwest, it's impossible for me to look at this photo and not smile.” - Joey Veltkamp

Clear glass ambrotype, 10” x 12”

Selected by Greg Kucera / Greg Kucera Gallery

“I have been watching Dan's "Wet Plate Collodion Seattle Artist Portrait" series grow and intensify for some time now and have loved particularly his touching portrait of the very glamorous Nola Avienne. A few weeks ago, he shot a very spontaneous portrait of Kiki Smith that was just astonishing to me. I watched the portrait of Kiki being set up, didn't want to be there when the photo was taken, but was amazed by the beauty and truth of it once done. Kiki has been photographed by some of the best in the business including Nan Goldin, Chuck Close and, even, herself. This is as good as any of them.” - Greg Kucera

Carved wood (Cedar), 44” x 28” x 29”

DAN WEBB - Fortress
Selected by Scott Lawrimore / Lawrimore Project

“...the draping and obfuscating is...carved...making it impossible to remove the covering and see what’s going on underneath. The reason for this was simply to highlight the idea that if there is a meaning to any work of art, it is a thing that must be inferred by the participation of the viewer. We are given the exteriors of objects to look at, and must glean with sensitivity and intelligence the interiors that they allude to. As Oscar Wilde said, “It’s only shallow people who do not judge by appearances. The mystery of the world is the visible, not the invisible.” ” - Dan Webb


When: Thursday, December 2 (1st Thursday)
Where: Sole Repair
Time: 8:30 - 11pm
21+ only, RSVP required

*To attend, RSVP to promos@cityartsmagazine.com with "Art Walk Awards" in the subject line.

Thursday, November 18, 2010

A few artist talks...

Kosmeo Wall by Nathan Craven (image by Nora Atkinson)
Recipient of BAM Biennial's 2010 People's Choice Award

Tomorrow night (Friday, 11/19) over in Bellevue, three artists from BAM's show Clay Throwdown! will be speaking. From 6:30 - 8pm, Yuki Nakamura, Nicholas Nyland and Timea Tihanyi will present a slide talk, followed by a gallery Q&A. (free for museum members)

Jeppa's Belly National Park (2010) by Erin Shafkind

Also tomorrow night over at Photo Center NW, starting at 7pm they're hosting faculty lectures and a closing reception for their current show, Picture Us. Presenters include Erin Shafkind, Keeara Rhodes, John Blalock, and Beb C. Reynol. ($6 suggested donation)

Abandoned Crates (2007) by Chris Engman

On Saturday (11/20), Chris Engman will be discussing work from his show Dust to Dust (opening tonight) at Greg Kucera. It starts at noon and is free.

Tuesday, November 16, 2010

Chris Engman / Greg Kucera Gallery

Equivalence (2009) by Chris Engman

I'm loving Chris Engman's latest series of prints from his second show at Greg Kucera Gallery. Dust to Dust opens this Thursday and actualizes on all the promise from his previous show with the gallery in 2006.

The latest work seems to dig deeper to really investigate his recurring themes of time, failure, and struggle. One of my favorite pieces in the show perfectly illustrates this. Equivalence, which references Alfred Stieglitz's important series of the first abstract photographs Equivalents, is a photograph of a structure built by the artist. Chris then documented the structure and attached a set of prints to the back of it. He then re-photographed the wooden grid creating a visual tension as you brain tries to make sense out of the conflicting shadows and perspective.

Three Moments (2009) by Chris Engman

The opening is this Thursday from 6-8pm at Greg Kucera Gallery. I can't wait!

Sunday, November 14, 2010

Open Studio / Marie Gagnon

Untitled by Marie Gagnon

Marie Gagnon will be having a studio sale today (Sunday) in the 619 Arts Building. I saw them last week and they look great. I really love this one of brushes with the viaduct in the background.
"I've loved the viaduct ever since I moved to Seattle and so am exploring it before it is gone forever. There is something intriguing in this solid structure that is disintegrating; a massive presence and the light that comes through the heaviness. It offers direction and yet, it's slowly crumbling." - Marie Gagnon
Sunday, November 14th from 12 to 5 pm
The Sophia Room - 4th floor south
619 Western Avenue

Saturday, November 13, 2010

2010 Northwest Artist Editions Launch Party

Victoria Haven / Northwest Field Recording (Extended Play) 2010
Cut vinyl on paper, 18 1/2 x 18 inches
Edition of 10 / $500

Save the date because a week from today (Saturday, November 20), you'll have the first crack to purchase the next round of amazing editions at Open Satellite. I love this program and it has fostered the creation of some amazing pieces of work.

Elias Hansen / I'm Holding On To This For You, 2010
Glass, cork, wax, 5 1/4 x 3 x 4 inches
Edition of 10 / $400

The party is free and goes from 7-10pm. There will be live music by DJ WD4D and autumnal beverages and snacks. The four artists are Elias Hansen, Victoria Haven, Isaac Layman, and Maki Tamura.

Isaac Layman / Liquor Store, 2010
Archival inkjet print, 18 x 13 inches
Edition of 8 / $900

All four of the editions look great and I'd love one of each of them. Isaac's prints come with artist-made frames as well. I can totally imagine Brian Murphy buying Maki Tamura's bear brooch.

Maki Tamura / Tiger & Ring of Flames (shown above), 2010
Underglaze watercolors on porcelain, brass-plated
nickel pin, felt, 3-5/16 x 2-3/4 x 3/16 inches
Edition of 12 / $250

Thursday, November 11, 2010

Call for Art / Ver(A)rt Gallery

Serpentine III Print by Jennifer Ament
From the current exhibition, Honest. A Group Show.

Super arts organization The Vera Project have placed a call to artists for their Ver(A)rt Gallery. Emerging artists and curators should apply with a "cohesive body of work or themed group exhibit." Send proposals to gallerychair@theveraproject.org by December 1st. Full details here.

Wednesday, November 10, 2010

Capitol Hill Blitz November 2010

Wow - the Capitol Hill art scene just keeps getting better and better. Look at the line-up for this month's Blitz.

Relic by Robert Hardgrave (image via)

Caffe Vita will be showing artwork by Joey Bates, Tim Marsden, and Robert Hardgrave. What a great trio.

Disjunct by Greg Boudreau (image via)

Diana Adams at Vermillion has always been a Cap Hill champion and this month she's got a show about the People in Your Neighborhood; a disparate collection of artists united around the theme of celebrating the local. Artists include Greg Boudreau, Rafael Gallardo, Jonathan Junker, Mark Mueller, Mike Regan, Rebeka Slavin, Mark VonRosenthal, Cait Willis and Marissa Cole.

The trickster and the guide (thought and memory)
Chris Sheridan copyright © 2010

Over at Loft Gallery, "Artifakt" will be be "two rooms with over 30 pieces of art by Chris Sheridan, John Osgood, Michael White, Joseph Brooks, Solace Wonder. Plus live painting and music by WD4D and special guests. 7pm - 1am."

by Grego Rachko

Babeland is hosting Grego Rachko this month. Kisses and Other Gestures is full of "colorful and expressive paintings of men".

The Peacock and The Ram by Zoe Williams
(image via)

Zoe Williams' SOMNIUM BESTIA at Ghost Gallery has already been featured on boingboing. It's a mixed media show that "brings dream animals to life."

Allies for a Season © 2010 Kristin Jurist Haakenson (image via)

Burk Gallery will be showing Kristin Jurist Haakenson's Color of Nature. "With an aura of reverence, Kristin paints her subject, Montana's Big Sky Country in both vibrant and subdued tones."

The Engagement by Toshi Asai (image via)

Joe Bar is showing "Collection", featuring works from artist Ben Beres' personal collection with artists like Chris Crites, Jed Dunkerley, Brad Ewing, Toshi Asai, and more.

Kimberly Trowbridge at The Living Room

And last but not least, Night Moves: A Drawing, by Kimberly Trowbridge at The Living Room. "By merging parts of the figure with the surrounding space, these works create a human form that exposes the collective and temporal aspects of its identity. Images reflect interest in the idea of coupling, and the deconstruction of individual forms in order to create a new, composite form."

And of course after looking at the all the art, head over to Unicorn for Dumb Eyes' Penetration.

Monday, November 8, 2010

Winner Takes All 2010 / Punch Gallery

Don't forget to pick up your ticket(s) for PUNCH Gallery's annual auction, Winner Takes All. If you're not familiar, the winner receives the entire exhibition that's currently up. That means art by the entire PUNCH roster: Renee Adams, Howard Barlow, Justin Colt Beckman. Natalie Schmidt Dotzauer, Jen Erickson, Curtis Erlinger, Bill Finger, Justin Gibbens, Patricia Hagen, Ries Niemi, Joanna Thomas.

Each ticket is only $10 and you can buy online or at the gallery. More info here.

Saturday, November 6, 2010

Saturday artist events

Hopefully the awesomeness of these shows will be enough to get you out of your cocoon today and head out for some art events.

video still of Paul Lynde doing the weather

Today the Hedreen Gallery will be hosting FACE TIME with Duncan Scovil.
"The piece falls loosely under the idea and structure of an extended forecast. The general notion is to provide a false context for House Systems, supplying a default conversation for visitors and staff, predicting the week's activity, and inevitably transitioning into failed documentation as the actual events occur."
Hedreen Gallery at 11am (until 2pm)

Where My Eyes Meet You, 2005 by Bert Rodriguez
White blinking neon mounted on plexiglas with transformer

Miami artist Bert Rodriguez will be in town for an informal walk-through of his two pieces at Lawrimore Project. I really enjoy the intimacy of the new space - it dramatically alters the experience of viewing art. It'll be interesting to see how many folks can pack in there. They might have to set up an ancillary viewing station with speakers at the trolley station across the street.

Eddie, 2008 by Jacob Foran
Stoneware, porcelain, paint, resin, concrete, steel, wood

Timea Tihanyi curated a 6 person show called Man and Beast that details our relationships with animals.
"This show explores the colorful variety of relationships between people and our creature-companions through new media works and tactile sculptures by six artists."

SOIL at 2pm

Pool by Maggie Carson Romano

While there won't be a lecture, you will be able to buy the artist a drink! Tonight from 5-7 pm, The Living Room hosts a closing party for Maggie Carson Romano's show, Pool.

Updated 9:14am
Updated 9:48am