eronrauch

A great night, but some sad news..

Tue, 13 May 2008 18:15:54 GMT

Mel and I celebrated our fourth anniversary last night (a bit late) with a wonderful, overly expensive, dinner at La Botte in Santa Monica. According to a documentary we watched a few weeks back, I guess even Monet had problems with being frugal when it came to wine, so who am I to argue... Especially since we're four years together and we still have a fantastic time going out and talking for hours.

However, in some sad news, one of the artists who was the most influential on my work, Robert Rauschenberg, has passed away yesterday. Particularly, his use of everyday objects in his "combines" showed me an expansion of the vocabulary of art to explore the poetics of the commonplace or overlooked nooks of the social landscape. Street junk, murky colors running into partially obscured recycled 50's and 60's half-toned imagery in stark colors seem evoke a sense of mystery of dark bars, lonely back streets, dilapidated billboards, and abandoned lots. The poetics and sense of cultural/media weariness aside, the other effect of his work was to defy stereotypes or the simplistic conclusions about the use of gallery space and assumptions about what is proper material and usage.

The idea of the combine - of the hybrid object that borrows from the traditions of painting, sculpture and even hints of dada-esque installation - is so interesting to me because it challenges the revered status of art and probes at how value gets assigned - judged - from one object to another, especially during the hyper-masculine, overly mythological period of the abstract expressionist period. Rather than focusing on the purity of painterly gesture and bold expression of the genius "soul", he focused down on making monuments the patina, grit, waste, confusion and loneliness of modern life. But in a more hopeful vein, the spaces his work creates breath some life into the sterile, nearly inhumane and presumptuous white-walled gallery.

SM Blues

Mon, 12 May 2008 05:48:43 GMT

Raiding Photographically

Tue, 06 May 2008 07:45:58 GMT

I don't know, honestly, this has been an artistic issue I can't quite wrap my brain-meats around... These totally overloaded and nigh-chaotic images of MMORPGs in full swing, with the interface left on as well the text, etc. are utterly fascinating to me. The really, in some ways, are astounding documents of the sheer visual data that we, in contemporary society, subject our selves to for pleasure (Philip K. Dick anyone?), but yet, I can't quite figure out what do with them artistically. As a lawyer at the recent "Culture of Virtual Worlds" conference mentioned, the law applies differently in the space of games (think how few or no prosecutions arise from thrown elbows and injuries from tackles that happen on the court or field) but does that mean that the art world may function very differently when it comes to the space of games? After all, Duchamp supposedly gave up making art to play chess, since it was superior to painting... yet continued to make art but not show it as contemporary scholarship has shown again again despite the massive mythology around his work in the dada scene... Part of me just wants to make a large, gorgeous print of the following image and tell the photo/art world to rot! But I'm very confused...

"Suicidal Tendencies Raids Karazhan"
Inkjet Print, 2008

Some old-ish work

Sat, 03 May 2008 19:11:19 GMT

Hiya! I just wanted to share a few pieces I've made within the last year that are, along with the Tribute to Gygax, and Dungeon Forms pieces (and a slew of others I've yet to show), part of a building body of painting and sculptural work that is examining the rhetoric and aesthetics of fantasy. Yeah, I know that's a vague description, but I haven't quit figured it out myself. Primarily I've been working in photography for the past couple years, but I'm always bashing-out ideas in more hands-on related projects along the sidelines (often recycling pieces of photographs and ephemera into collage situations).

"Riders"
Mixed Media, 2007

"Leader (If you can't make it good, make it red.)"
Mixed Media, 2007

"Don't Angel Wings Make everything Cooler?"
(Mixed Media on Found Print, 2007

All the people who died...

Sat, 03 May 2008 10:46:40 GMT

http://www.imeem.com/people/CC7cwqs/music/NJLKDk3N/jim_carroll_people_who_died/

SM Blues

Fri, 02 May 2008 01:14:43 GMT

A bit of a preview...

Sat, 26 Apr 2008 16:23:40 GMT

I'm currently attending the the University of California at Irvine's conference "The Culture of Virtual Worlds" and I wanted to share a couple of images from my projects involving World of Warcraft that I've been looking at using in my upcoming show at the Art Mecho museum in Second Life. More information will be coming as it develops.

SM Blues

Sun, 20 Apr 2008 19:05:31 GMT

SM Blues

Tue, 15 Apr 2008 20:12:40 GMT

RPGs & The Avant Guard

Tue, 15 Apr 2008 01:27:18 GMT

"Homage to Gary Gygax" (Dice, Gloss Medium, Canvas) 2008

"Dungeon Form #1" (Acrylic Enamel on Canvas) 2007

One of the coincidences that I return to often in my work tends to be the fixation on chance in both RPGs/Fantasy and Avant Guard art. From Hans Arp's compositions made from dropping sting or paper onto a canvas, to Tristen Tzara's chance poems, to John Cage's musical scores whose order is determined by rolling dice, to Brian Eno's "Oblique Strategies" deck of problem-solving cards, forward looking artists have often used chance-operations to try to free themselves from limitations and preconceptions about art. Since many of my art projects rotate on confusing the boundaries between high art tradition and contemporary [low- or subcultural] life, one of my earliest operations was to notice that Dungeons & Dragons, and it's myriad of more sophisticated video-game offspring, was really in many ways quite similar to avant art in the way that it relies on complicated chance encounters and occurrences to create situations for the players to act in.

For me, I even found a very facinating, yet subversive, beauty in the geometric forms of a randomly-generated map, the intricate system of tables and math, or even the very act throwing dice for no reason. But it's a useful occurrence, that despite the history of art being over-masculinized [especially in regards to the macho culture of gambling] and being so rarified in marble halls, that Dungeons & Dragons is just about the geekiest, fake-wood-panneled cement-floor basement, least "high-art" cultural referent possible. And this isn't about irony. No "D&D is hip because it isn't hip" bullshit here. D&D is geeky and a little tacky and a little dated, but after all, wasn't that the point of those great avant guard artists, that art can and MUST be found everywhere, not just in the pristine museums and glossy ad-filled art magazine - not just in those hermetic spaces where we expect art?

SM Blues

Mon, 07 Apr 2008 20:04:23 GMT

SM Blues

Tue, 01 Apr 2008 21:09:37 GMT

Otaku Posters

Thu, 27 Mar 2008 20:11:32 GMT

These four pieces are from a project loosely called "Jenny's Archive" which are small-ish works, around 12" x 20" that are collages/decollages of the fold-out posters in japanese-language anime magazines such as Animage, Newtype, and Megami.

These four are examples from what will eventually be a project that uses every single fold-out-poster from the archive of old anime magazines that were gifted to by Jenny [who often gives me curious media to turn into art] so she didn't have to move them.

Currently, these works consist of layers of fractured/torn posters, both collaged and picked back out, that reveal multiple layers of similar anime genre pin-up images. My organization process is based on the conventions of these posters. That is, one woman in the middle of the [vertical] poster. Two women posing together [horizontal]. Three women from the knees up. Etc. You may notice I said "women" - in two full boxes, there were enough posters with males in them to form a grand total of one, yet-un-produced, image...

The idea was born partially be a critique I had of the increasingly symbolic & mythological nature of Takeshi Murakami's recent larger [ever-larger] paintings. While I'm not opposed to some psuedo-mythological themes, I feel as though the works have started to be so grandiose and self-referential that they have almost ceased any critical dialog with the materiality/object-ness of otaku culture. That is, that I'm fascinated about how while we "read into" the symbols, the images and icons that make up the fetishes of otaku culture are transmitted though ephemeral, often junky, objects as well. These works are partially an attempt to emphasize what I've known and observed asthe tangible/physical nature of otaku culture, not just the textual nature of the subcultural symbols. It's a weird concrete poetry made of VHS tapes and flimsy, glossy paper, and push pins.

Spring Works in Progress

Thu, 27 Mar 2008 19:48:58 GMT

Spring cleaning for me is always a special time. Not only is cleaning one of the things that I do to sooth an oft-frazzled mind (with a decent beer, like Oaked Arrogant Bastard), but it also involves digging through all of my menagerie of collected proposed collage/art materials. While much of the work I've shown on this blog has been photographic, a large part of my art practice involves collage or found materials that are manipulated or re-contextualized. I find that playing with the poetics of objects is a great way to think about whatever topic is interesting me, even if I find my success rate to be significantly lower than usual with these projects. Though I'll be presenting some of the spring projects in small groups, Mel did point out, after staring at many of these hung in our work-in-progress gallery in our hall, that they might only really make sense as a big heterogeneous body. I guess the old joke about my work being something like a "one-man schizophrenic group show" holds true, even if I prefer the more dignified description of my work as being more like a sprawling research essay with many branching, converging and even contradicting ideas that explore a theme.

Bridges of the Unknown pt. 4

Sun, 02 Mar 2008 01:22:09 GMT

A few more images from my anime documentary project while I tinker with a couple of new-ish projects in mind I might start posting to get some feedback on. Also, there is a chance that I might be having an online exhibit of my World of Warcraft images in a virtual gallery in Second Life. More info coming as I learn about it.

"Initial D (Fanime 2005)"

"Room Party (Animagic 2005)"

"Check-out (Anime Expo 2007)"

"Main Programing (Animagic 2004)"

Continued Bridges of Desire

Sun, 24 Feb 2008 23:21:40 GMT

I'm about to step into WoW for a bit to meet up with my friends from Illinois (we play for a couple hours on Sunday as a way to keep in touch) but I wanted to add a few more photographs from my anime convention project for everyone to ponder. As I get more of these images posted, I'd love to hear thoughts on how the images are interacting, or if you have thoughts about what additional images might flesh out this portrait of otaku-life more fully.

"Front Entrance (Anime Expo 2007)"

"Capsule Hentai (Fanime 2005)"

"Three (Anizona 2004)"

Bridges of Desire Pt. 2

Fri, 22 Feb 2008 03:28:14 GMT

I'm not really sure how many of these posts I'm planning on making, but hopefully there will be enough new images (since there are about 100+ rolls of images that few people have seen aside from the lecture) that it will continue to be interesting. With around 300 rolls of film, with 36 frames on each, I'm still finding new images with each flip through the proofs...

"Vending Machines (Animagic 2006)"

"Long Beach Moon (Anime Expo 2007)"

"Dealer's hall, Airbrusher (Anime Expo 2007)"

"Legs, Drinking (Anime Central 2003)"

Conventions and Photographs

Tue, 19 Feb 2008 21:15:31 GMT

So, my Dad has been visiting from Chicago [both to get away from the record setting snow this season and to see my show up in Los Angeles]. A while back I had given an artist lecture at the Minneapolis College of Art and Design on my photo-documentary of anime conventions. It's a really personal project in so many ways, since it weaves my own autobiographical frenzied relationship, and subsequent alienation, to the American anime scene with an burgeoning interest in pushing the boundaries of photography. It's a project that makes me sad, not in a bad way, but in a good way, because of it's combination of ruthlessness and lyricalness, intimate and crowd.

So anyway, my dad wanted to see the images that I had used for the lecture. After showing them I wasn't really sure what to say. I have been working on other projects primarily since the lecture (owing to getting burned out). But something about being in that liminal space between the foggy, ponderous, chill of winter and the humid lucidity of spring always triggers a bit of chagrined nostalgia for my otaku days. But rather than ramble further, I thought I show a few images over the next week:

"Slap (Anime Central 2003)"

"Executive Wing, 2AM (Anime Central 2005)"

"Autograph Table (Anime Expo 2006)"

Thanks and Photos

Sat, 09 Feb 2008 20:24:25 GMT

Hiya! I just wanted to say thanks to everyone who came out to support my show "Leveling" this past Friday. It was a great deal of fun to hang out, drink some beer and learn that an awfully large number of people, even in the pretentious art world, are addicted to WoW. There was a touch of vertigo involved in trying to whip my brain between discussing proper gem-slotting on beginning raid warlocks speced affliction and theorizing on the visual implications of realism's lineage in virtual social spaces. Here are a few shots that I snapped while I was milling and geeking and arting.

A Beer Review

Sat, 19 Jan 2008 07:00:04 GMT

For those of you who don't know me, my head isn't always filled with pretentious & labyrinthine rants about art. Yes, my head is also often full of booze. Specifically, I have a great admiration for any characteristic or unique alcoholic beverage, and a deep poetic relationship with libations that have a very heavy dose of "place-ness" in them. For instance, single malt scotch whisky (neat, please) is my favorite hard alcohol because the method of production, ingredients, and aging all are so highly dependent on the very land, air and water of the distillery.

So too, my tastes in wine run rather counter to those that Robert Parker currently espouses, which in my mind are eerily close to promoting an "international" style... rather, as I would call it, a generic style. The whole 100-point scoring system, aside from being far to close to those abominable tests we were forced to do in high school, does nothing to reward wines that are quirky, unique or diverse. Instead, it rewards wines that fill a certain category of preconceptions, termed "great" or "classic." Now, by no means am I trying to claim there is not better and worse wine... merely that alcohol and taste are very much aesthetic judgments produced by culture. Far be it for me to remind all the Cab-o-philes in the world that a century ago the wines that sold for the most money at the London auction house were semi-dry Reislings (I got that tidbit from "The Complete History of Wine" if you are interested).

So, in to promote diversity and fulfill my palate's curiosity, I really take well to wines produced in a more "Old World" style, that give or take, does much less to process and control the final taste of the wine (such as malolactic fermentation or fining), and more to use wine to express the lyric-ness of the place in which it is produced. Yes that will by necessity include some cultural biases, but I don't know about you, but people that fad hop to produce imitations of the popular style of the second generally annoy me, and the same with my booze. I want booze for all my myriad of moods, and all the the diverse situations in life. Sometimes austere, such as a Chablis, sometimes, sunny and good natured, like a lovely rustic Italian wine, sometimes quite like a Santa Barbara Sauvignon Blanc, sometimes fiery like a California Zinfindel...

Anyway, the reason for that rambling digression through my personal preferences (aside from whatever artistic theory you might not-so-accidentally dig out of relating my booze to my projects) is that my review is going to be of a beer. Beer & I have a deep and complicated relationship. Since very very few producers grow there own hops, barely or even use "local" water in the way that Scotch does, in most ways the flavors of beer represent a non-place. Or at least a place somewhere between the head of the brew master and the cultural landscape in which it is consumed. That is, "what do they want to make?" and "what do people want to drink?" get spun around in any which way. Now this lack of reliance on a specific place can also be called freedom of choice to produce whatever you might feel up to Frankenstiening together. Many of my personal favorite beers are of this experimental style (such as the great brewers at Dogfish Head).

So when I recieved a bottle of New Glarus Brewing Company's "Unplugged" Bourbon Barrel Boch from my brother this Christmas I was very enthused. There are number of great small breweries in Wisconsin, such as Capital, that specialize in highly characteristic German-style seasonal beers. Though I now live in Santa Monica, not the snowy wastes of mid-Wisconsin, the cold weather almost seems to require a complicated, concentrated beer. That is, this beer is a mid-weight beer filled with a balance of toffee, maltiness, with interwoven strands of rustic yeastiness and a touch of soft, understated oily hops (similar to the kind found in british IPAs)... but just a fleeting touch. There is some lingering smoke and a rather nice touch of grain. The alcohol is very well balanced, and the beer is hardly sweet at all. The most unique part of this beer is that it has been aged in second-use bourbon barrels for over 4 months. The aging process has given the beer a very characteristic oxidized sourness and slightly red-ish tinge. There is very little carbonation remaining after the aging. The aging has pulled everything in to a long, almost ghostly smooth variant of a dense germanic winter's night. Unlike many winter beers, this beer seems be low enough in both residual sugar and ABV to be free from any syrupy qualities, which lends the beer a certain austerity that lends well to a bit of clear-headed revery.

And today, you'll get one free review. For a wine. A wine that is really horrible, and that you should never buy for anyone but your enemies and most aggravating relatives. The wine is Searidge Merlot 2005, and usually goes for around 5 dollars at Vons. The reason I'm even mentioning this wine (and normally I will only review things I like) is that if you are anything like me, you're always looking for a bargain. When I saw a bottle of wine on sale for $2.50 I had to get one. The wine is very cloying sweet, syrupy, lingering hints of alchohol and grape-juicy. There is a definite metallic/bitter scent... Not good... Even for $2.50 this wine is far from a bargain.

Leveling

Fri, 11 Jan 2008 08:56:07 GMT

Hi all! I just wanted to extend an invitation to come out and see my most recent show that is up in Los Angeles. "Leveling" is a show that is comprised of three new bodies of work that explore the intersection of MMORPG's (Massive Multiplayer Online Role-Playing Games), specifically World of Warcraft and the history of photography.

Come visit the show 10AM-5PM on weekdays at:

eastside studios
4626 HOLLYWOOD BLVD. LOS ANGELES, CALIFORNIA 90027

Fear not if you think you missed the opening, there wasn't one. Instead there will be a closing reception *Friday, February 1st, 8-10PM* with plenty of free booze!(Also of interest is that a vintage photography gallery has opened next door, and Waco is across the street, so come see all three shows!)

Eron Rauch, "Glitch #2 (Tower of Westfall)," Archival Inkjet Print, 40" x 30"

The project that gives the show it's name-sake is "Leveling 1-70, (Currently 36)," which is a large installation of photographs in a grid. As I play the game I am taking a photograph of every player-character corpse I come across. These images preserve every corpse of a fellow player that has tried to take on too many brigands, fallen to far, stumbled into ambush by much higher level monsters, or didn't quite have the game's tactics figured out.

The second set it is a trio of large color prints that are actual glitches that I have experienced in the game world. The satori moment of the glitch, owing to it's shattering of the facade of realism, can to me be more awe-inspiring or humorous than the most spectacular magic spell or wittiest dialog. Though the images seem abstract they are also a reminder the most concrete material forces of programming and geometry that produce the game's forms.

The third body of work, called "Travels," is a series of landscapes that are shot during my adventures in the frontiers of WoW, much like the landscapes of Timothy O'Sullivan or William Henry Jackson who photographically explored the American West in the later decades of the 1800's. These photographers searched for meaning, both artistic and social, in the dramatic terrain. In a similar way, these images are an attempt to explore the strained relationship with how we as a society imagine our conflicting ideas of landscape. To both preserve and change, to fear and wonder. So too, "Travels" is a personal exploration of my confusion and anxiety about the role of the artist in our constructed world.

PS: If you would like to see more of my work, feel free to go to my website, www.eronrauch.com.

On Being Published

Wed, 09 Jan 2008 05:07:51 GMT

I'm digressing, briefly, from my New Year's Resolutions to make a bit of a self-congratulatory post. Not, really, it's more of a small celebration (/cheers you with discount wine): I recieved my copies of a journal that published a number of photographs from my project "Bridges of the Unknown: Visual Desires and Small Apocalypses," which is a autobiographical black & white documentary on the culture of anime conventions in America. My work is in volume two of Mechademia, "Networks of Desire" which is journal published by the University of Minnesota dedicated to the research and exploration of Japanese pop culture, especially anime and manga. (Volume two focuses on essays that talk about the various ways that desire is a very common theme and structure of anime and manga.) It has a really cool cover by Chiho Aoshima, for those of you who are fans of hers:

My section in the journal is a layout of photographs and an essay exploring the relationship of photography, personal history and the anime underground all designed in an inimitably hip-but-gritty-punk fashion Maranatha Wilson (who is based out of Minneapolis). You'll have to grab the book to get a peek at her layouts, but here's a sample image, and a brief snippet of the essay as a teaser.

Eron Rauch, "Dark and Light in the Lobby (Katsucon 2005)"

"The camera, which positions the image from an outside point of view, makes the fans into subjects but quickly becomes it’s own subject.

This project is as melodramatic as this rhetoric, but it also is as self-critical and comic. Photography has become my way to structure my dialogue with myself, while at the same time, being a critical discourse on fandom and desire.

Autobiography becomes subsumed by the camera’s (re) presentation; which is not only the method, but also underlying metaphor of power and history, in terms of what can be “known.”

Conscious awareness of a language of desire seems to bring forth the rip tide of change. By allowing my nexus of desire to be the location of an interposing, exploding, freeze-framing, juxtaposing and ciphering view of fan desire, I think I stumbled on what Takashi Okada has suggested during an interview with Takashi Murakami in Little Boy, “...making a sekai-kei [lit: “world-type”] ends artists’ careers.”"

Anyway, if you want to learn more, just click on over to the University of Minnesota's Press at http://www.upress.umn.edu/Books/L/lunning_mechademia2.html

COMING SOON! A rant about my crappy internet connection, but more important, the first official announcement for my show in Los Angeles, called "Leveling" - and yes, that means reception time, with all the free Tecate you can drink!

New Year's Resoultion #2 - A List

Thu, 03 Jan 2008 23:39:47 GMT

So this post will take the form of a list. A list to keep me focused and honest with myself. Which is what New Year's resolutions are, right? Resolution #2 is that I will, for once and all, finish that stack of books that I keep next to my bedside. I read voraciously, but I have a couple dozen books that I own, but haven't read that have been lingering and collecting dust as a flit from library books to e-books to books friends lend. This might even be a way to get a bead on my tastes in books, for those of you who are curious about what literature and theory turns me on.

Also, Resolution #2.1 - Throw out the Chistmas tree today, since it is starting to smell funny and is very near to the spot on the couch where I usually read.

And without further delay, my list of books that I *will* read in 2008, before I read any others:

Poems for the New Millennium (ed. by Jerome Rothenberg & Pierre Joris)
Desert Screen (by Paul Virilio)
The House of Storms (by Ian R. MacLeod)
The Possessed Induvidual (by Arthur Kroker)
McSweeney's #21
The Tourist (by Dean MacCannell)
Treadwinds (by Walter K. Lew)
War and Peace Vol. 2 (ed. by Judith Goldman & Leslie Scalapino)
Documenta Magazine No. 2, 2007, "Life!"
Afterall Issue 13
King Rat (by China Mieville)
Viriconium (by M. John Harrison)
The Bridge of Lost Desire (by Samuel R. Delany)
Dreams of Dark and Light (by Tanith Lee)
The Fortress of Solitude (by Jonathan Lethem)
The History of Forgetting (by Norman M. Klien)
Chris Marker (by Catherine Lupton)
The Mind's Eye (by Henri Cartier-Bresson)
Transculturalism (by Claude Grunitzky)
The Accessible Hegel (by Michael Allen Fox)
Quicksilver (by Neal Stephenson)
The Confusion (by Neal Stephenson)
Art and It's Signifigance (ed. by Stephen David Ross)

Eron Rauch "L.A. Fashion District, Winter" 2007, Archival Inkjet Print

New Year's Resolution #1 (and #1.5)

Wed, 02 Jan 2008 21:05:30 GMT

So, I have a number of resolutions that mentioned that I'll be passing along as a way to start my blog. Now that we've all sloughed off our hangovers (mostly), one of my main resolutions is too make sure to carry a camera with me as often as possible. Not that I need to be one of those guys who regularly wears a photo-vest and three Leicas to walk two blocks to Vons to get milk [lactose-free please]. You know, one with a wide-angle lens, one with a long lens, and one wide-with-color-film... But I often get very mono-focused on whatever larger project that currently has been consuming my fancy. However, keeping open to the world around, random interesting ideas and new trailheads for projects is as much a part of a healthy art practice as finishing the long slog through the years it takes to build a big body of work.

One corollary to this Resolution, which I'll get much more in-depth with in a future post, is that I'm switching to being primarily digital based. I'll spare you the "I saw the light" speech for now (which would be a lie anyway), and just say that I do have a nice, but older Canon DSLR that was initially purchased for my job. One of the reasons that I've been grumbly about carrying around my camera is that it has about a three second start-up time, has a 1.6 magnification factor on lenses (meaning my wide lenses aren't wide on this camera) and is unusable at any ISO but 100. Fine for a workhorse at my job doing casting photography, but not for the chaos and confusion of being out and trying to interact with the visual poetry of the world. Yeah, I know, I'm being really picky. But I've put over 70,000 shots on that camera none-the-less. So Resolution 1.5 is that I need to save enough money to buy a current Canon digital SLR and a really wide EOS-mount prime lens (like a 24 or so).

Eron Rauch, "Out of Print" 2007, Archival Inkjet Print

Welcome and Hello!

Sun, 30 Dec 2007 08:08:11 GMT

Howdy! I'm just getting this journal rolling, but welcome. Soon this will be a place that will feature my in-progress art, show announcements, some writings, lots of ranting, book reviews, and maybe even a few of good recipes I've been cooking recently. Also, you'll probably have to suffer through some interminable gushing about whatever great booze I might be loving (currently, being winter & living near a sea, single malt scotches my first choice).

Over the next few weeks (and I'm saying this to keep myself on task) I'll be posting a bio, a flyer to my new show in Los Angeles, a few pics, and most importantly, some of my New Year's resolutions which might let you get to know me and my artistic aims a bit better. Also, please pardon how damn stilted this writing sounds. I'll work on that. It's a New Year's resolution for sure. And I think I just used periods like Norman Mailer.

Eron Rauch, "Dead or Alive (Anime Expo 2006)", Archival Inkjet Print from 35mm Negative. From "Bridges of Unknown Desire," which is a photo-documentary on anime conventions in American that I've been working on for a few years.