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‘In The Flat Field’ Jeffrey Cortland Jones

This is a wonderful show by Jeffrey Cortland Jones. The work is incredible. See below for more information.

apprehending then releasing
the resistance of a color then surrendering to it a hard edge as it softens

the slight peeking that come from covering and layering that space between the wall and object
when shallow and deep appear the same
what its like to look through the fog

when a mostly matte surface shifts to a little tinge of gloss that hangs out at the edge that place between misplacing and finding
how white can be both warm and cool at the same time
when you find that correcting is making it worse

the moment when a stable stack is on the verge of collapse when contemplation breaks down and you go for it

  1. What ideas are you examining though your exhibition at Raygun?

The work at Raygun is a continuation of ongoing research…but smaller in scale.  This exhibition has given me the freedom to be looser and make work not so precious.

  1. What are the ideas that surround your work/your practice?

I really interested in building up and taking back down.  Layering and covering past decisions.  I am interested in the shifting subtlety of color.

  1. What are your influences/other interests?

My work has varied and vast influences.  Visually; Fergus Feehily, Ian Kiaer, Andrew Bick, Gordon Moore, Ron Buffing ton, the quilts of Gee’s Bend, and Denyse Schmidt to start. Sonically; the Smiths, the XX, the Cure, the Pet Shop Boys, New Order, Depeche Mode, Soft Kill, Skeleton Hands, the Dead Kennedys, Silverstein, Thursday.  Other influences are without pause; the way skateboarding affects its physical environment.  It’s the way hard concrete ledge softens after it has been skated.  Or the painted marks left on a handrail from a skateboard sliding down it. Or the grimy marks drawn on the wall from a wall ride. Graffiti/tagging is also a major component to my practice.  Not the act of making but rather the battle that takes place between artists and the officials.  I get excited to see how tags get buffed out and painted over…and how the color used to cover is never correct.



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We’re super happy to be participating in the project ‘An Act of Showing’ in Melbourne, which is a material conversation about artist-runs and ‘place’. A number of artists run spaces have been asked to contribute a work that best represents their project space. Each work is exhibited together as a way to delve deeper into the conversation about the ARI, past funding models, histories and collective visions, towards provoking conversations about and between ARI’s which will focus on ‘place’ and ‘situatedness’.

If you’re in Melbourne later this month, swing by and check it out, as well as RAYGUN’s contribution and extended project Sharing Loving Giving. xx


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FICTION (With Only Daylight Between Us) v2 with 200 artists from 16 Countries

Fiction (With Only Daylight Between Us) . v2

A social experiment featuring 200 artists from 16 countries, curated by Jeffrey Cortland Jones.

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Dave Ackels . OhioLuke Ahern . Ohio

Steven Alexander . Pennsylvania

Matthew Allen . Netherlands

Ky Anderson . New York

Rosaire Appel . New York

Hernan Ardila . Spain

Nicholaus Arnold . Ohio

Chris Ashley . California

Jimmy Baker . Ohio

Steven Baris . Pennsylvania

Andi Baumgartner . Ohio

Paul Behnke . New York

Russell Beighton . China

Michael Bennett . Germany

Michelle Benoit . Rhode Island

Emily Berger . New York

Joshua Bienko . Tennessee

Arvid Boecker . Germany

Christine Boiry . France

Tom Bolles . California

Dustyn Bork . Arkansas

Mark Bradley-Shoup . Tennessee

Darden Bradshaw . Ohio

Ian Breidenbach . Ohio

Michael Brennan . New York

Valerie Brennan . Cyprus

Mary Bucci McCoy . Massachusetts

Timothy Buckwalter . California

Ron Buffington . Tennessee

Phillip Buntin . Ohio

Colin Canary . Canada

Marc Cheetham . New Jersey

Todd Chilton . Illinois

Mary F. Coats . California

Lucinda Cobley . Texas

Bethanie Collins . Missouri

James Collins . Michigan

Jeffrey Collins . Ohio

Vincent Como . New York

Michael Conlan . Ohio

Alex Couwenberg . California

Deb Covell . England

Colby Currie . Texas

Brian Cypher . Washington

Rob de Oude . New York

Carly Dahl . Arkansas

Douglas Degges . Tennessee

Mairead Delaney / Rae Goodwin . Illinois / Kentucky

Daniel DeLuna . New York

Peter Demos . New York

Ludovic Dervillez . France

Susan Dory . Washington

Laura Duerwald . Pennsylvania

Tom Duimstra . Michigan

Brian Edmonds . Alabama

Greg Fadell . Michigan

Richard Feaster . Tennessee

Gabriele Fedele . Italy

Maxwell Feldmann . Ohio

Juan Fernandez . Illinois

Matthew Feyld . Canada

Stuart Fineman . Pennsylvania

Russell Floersch . New York

Benjamin Gardner . Iowa

Matthew Neil Gehring . New York

Arjen Geurts . Netherlands

Timothy Gierschick II . Pennsylvania

Alan Greenberg . Pennsylvania

Billy Gruner . Australia

Feng Guo . New York

Sharon Hall . England

Evan Halter . New Jersey

Hollis Hammonds . Texas

Hanz Hancock . England

Darren Haper . Ohio

Jodi Hays . Tennessee

Jeanne Heifetz . New York

Rachel Hellmann . Indiana

  1. Nigh Herndon . Oklahoma

Howard Hersh . California

Gabriele Herzog . England

Justine Hill . New York

Ruth Hiller . Colorado

Courtney Hoelscher . Michigan

Daniel Hollier . Australia

Harold Hollingsworth . Washington

Jan Holthoff . Germany

Claire Robertson Houghton . Ohio

Gilbert Hsiao . New York

Gina Hunt . Illinois

David Hytone . Washington

Julian Jackson . New York

Dorothee Joachim . Germany

Celia Johnson . North Carolina

Ron Johnson . Virginia

Ashley Jonas . Ohio

Heather Jones . Ohio

Jeffrey Cortland Jones . Ohio

Julie Jones . Ohio

Suzanne Laura Kammin . New Jersey

Jason Karolak . New York

Jeff Kellar . Maine

Eric Keller . Tennessee

Laura Sue King . New York

Rick Klauber . New York

René Korten . Netherlands

Alicia LaChance . Missouri

Jason Lahr . Indiana

Rudy Lanjouw . Netherlands

Matthew Langley . New York

Emma Langridge . Australia

Bonny Leibowitz . Texas

Daniel Levine . New York

Geno Luketic . Ohio

Hannah Luxton . England

Matthew Macaulay . England

Christopher Manning . New York

Pedro Matos . Portugal

Joanne Mattera . New York

Jeff Maurer . Ohio

Tim McFarlane . Pennsylvania

Rob Meehan . Ireland

Dennis Meier . Germany

Derek Meier . Minnesota

Phillip J. Mellen . Massachusetts

David T. Miller . Pennsylvania

Lucy Mink-Covello . New Hampshire

Marc Mitchell . Arkansas

Matt Morris . Illinois

Alexandra Morrissette . Pennsylvania

Patrick Morrissey . England

James Austin Murray . New York

Melissa Newman . Tennessee

Brooke Nixon . Maine

Sean Oswald . Ohio

Alex Paik . New York

Daniel Pfalzgraf . Kentucky

Charley Peters . England

Gary Petersen . New York

Kyle and Kelly Phelps . Ohio

Marion Piper . England

Sue Post . Massachusetts

William Potter . Indiana

Debra Ramsay . New York

Sue Ravitz . New York

Peter Reginato . New York

Emil Robinson . Ohio

Jason Rohlf . New York

Kimberly Rowe . California

Christopher Rico . South Carolina

Eric Ruschman . Illinois

Anne Russinof . New York

Nick Satinover . Tennessee

John Sabraw . Ohio

Amy Sacksteder . Michigan

Joe Saunders . Tennessee

Karen Schifano . New York

Manuel Schmettau . New York

Pete Schulte . Alabama

Tim Schwartz . Pennsylvania

Diane Scott . Australia

Zach Searcy . Tennessee

Peter Shear . Indiana

Robert Sherrill . New York

Gabriel J. Shuldiner . New York

Suzan Shutan . Connecticut

Bobby Sinclair . Scotland

Dana Smith . Missouri

Ty Smith . Alabama

Jessica Snow . California

John Sousa . Ohio

Benjamin Lee Sperry . New York

Jered Sprecher . Tennessee

Clary Stolte . Netherlands

Lars Strandh . Norway

Krista Svalbonas . Illinois

Nick Szymanski . Michigan

John Tallman . Tennessee

Struan Teague . Denmark

Aimee Terburg . Netherlands

Julie Torres . New York

Richard van der Aa . France

Jasper van der Graaf . Netherlands

Cecilia Vissers . Netherlands

Christina Renfer Vogel . Tennessee

Don Voisine . New York

Seth Wade . Ohio

Mark Wethli . Maine

Joel Whitaker . Ohio

Jason Willaford . Texas

David Willburn . Texas

Michael Wille . Illinois

Paige Williams . Ohio

Werner Windisch . Germany

Douglas Witmer . Pennsylvania

Stephen Wright . Kentucky

Eric Yevak . New York

Patricia Zarate . New York

Mark Zimmermann . New York

Tamar Zinn . New York






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Vinson Valega

We met Vinson Valega (fondly known as Vins) through Sharon Louden during her book launch/trip to Toowoomba. We are feeling the need to take a moment to acknowledge the amazing human and musician. We are thrilled and are feeling need to share. I have included links below to the pages for the two albums that we have the privilege of owning. This will take you to essays that Vins has written about the albums, as well as poetry, and MP3s. enjoy x

Biophilia                        Awake

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Artist As Culture Producer book launch

On Friday we picked up our visitors Sharon Louden, Vinson Valega, Hrag Vartanian, Veken Gueyikian and Gina Fairley from Brisbane airport, then home via a pit stop to check out the roos on the way back to Toowoomba. The night was spent sharing a meal together with non stop conversations about the idea of the artist as a culture producer. The following morning we invited artists from our community to join us for breakfast and meet out visitors then on the Toowoomba library for the Artist As Culture Producer book launch.

The launch was welcomed by Federal member for parliament Dr John McVeigh and MC’d by local councillor Geoff McDonald. Sharon and Hrag discussed different essays by artists taken from the book and the launch ended with discussions from the audience surrounding ideas of the artist and their value as an active and important fabric of all communities. The main theme of the discussion was that the artist needs to create their own opportunities by stepping out of their studios and collaborate with different sectors of the community. Sharon and Hrag fly the flag for the artist to value their time and skills, in turn breaking the age old notion of the poor struggling artist. The event was sponsored by NAVA (National Association of Visual Arts), and it felt good to be able to share the importance of the NAVA pay rates available for Australian artists to incorporate into their arts businesses.

After the book signing we headed back off to Brisbane for a second book launch at Queensland Gallery of Modern Art and then on to a final dinner together in Brisbane’s West End. We miss our visitors already and are super grateful they took the time to join us in regional Queensland. They finish their Australian trip with a visit to Warlukurlangu Artist Run Space in Alice Springs and then home to New York.

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We are super stoked to be receiving Sharon Louden and Hrag Vartanian from New York City this Friday in Toowoomba for the book launch of her new book The Artist As Culture Producer. They will be launching at The University of NSW, Carriageworks, RAYGUN PROJECTS, QAGOMA and Ularu.  Register your free Eventbrite tickets to the book launch and discussion on Saturday click here . Seats at the Toowoomba Library are limited and filling fast.

We are super thankful to NAVA for their support in bringing them to us and helping enable this event.

This book has been released on Amazon for just a few months and already has been selling fast.  Here’s an excerpt of the book. When Living and Sustaining a Creative Life was published in 2013, it became an immediate sensation. Edited by Sharon Louden, the book brought together forty essays by working artists, each sharing their own story of how to sustain a creative practice that contributes to the ongoing dialogue in contemporary art. The book struck a nerve—how do artists really make it in the world today? Louden took the book on a sixty-two-stop book tour, selling thousands of copies, and building a movement along the way.
Now, Louden returns with a sequel: forty more essays from artists who have successfully expanded their practice beyond the studio and become change agents in their communities. There is a misconception that artists are invisible and hidden, but the essays here demonstrate the truth—artists make a measurable and innovative economic impact in the non-profit sector, in education, and in corporate environments. The Artist as Culture Producer illustrates how today’s contemporary artists add to creative economies through out-of-the-box thinking while also generously contributing to the well-being of others.
By turns humorous, heartbreaking, and instructive, the testimonies of these forty diverse working artists will inspire and encourage every reader—from the art student to the established artist. With a foreword by Hyperallergic cofounder and editor-in-chief Hrag Vartanian, The Artist as Culture Producer is set to make an indelible mark on the art world—redefining how we see and support contemporary artists.

Louden’s worldwide book tour begins in March 2017. More information and tour dates can be found online at

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Stephan Moore Cont.

We always ask our artists a few questions in regards to their shows with us and their practices. Here is our dialogue with Stephan

1. What ideas are you examining though your exhibition at RAYGUN?
I am interested in systems that we take for granted until they stop working, so I am interested in attention and its management. This piece speaks to how the systems we have created to transmit information emulate human attention, “multi-tasking”, and have the potential to destroy the messages they convey through their inattention/split attention.  I am interested in the value we place on attention.  I am also interested in the artifacts created by the destruction of messages, and how these artifacts can accrue their own meaning and value. The sounds produced in the gallery, in the room that contains and shapes the sounds, take on a special quality simply by their status of occupying a gallery.  The intelligibility of the original signal, and the intelligibility of the damage the signal has suffered, become the objects of our attention as we listen.  We try to discern what is going on. I am interested in failure and in incomprehension, but I am most interested in creating a space for exploring the assembly or reassembly of ideas in the sonic sphere — how sound delivers information in real time, and the rhythm of how meaning is received. I usually find myself pursuing the activation of what Chris Mann calls “machines for making sense”, i.e. the conscious mind of each listener, and providing rich, raw material for these “Machines” to work on, puzzle out, extract information from, and assemble an understanding of.  International politics and surveillance culture are also in here, somewhere.  Or maybe these issues are now identical.
2. What are the ideas that surround your work/your practice?
I think a lot through listening, and I find that my experience of aural perception, of being a human with the capacity to sense sound, informs the path I take more than any other factor. I became an artist because I believe in the transformational power of concentrated perception.  I feel a responsibility to both sharpen my own awareness, and to create works that invite others to do the same.
I’m fascinated with simple systems that exhibit unpredictable behavior when brought into contact with the material world. Whether through faulty mechanics, human error, or chaotic acoustics, the emergent traits exhibited by these systems afford their audience (including myself) opportunities to experience strange beauty and stumble upon unplanned insights. In such systems, a failure to behave “properly” is the starting point for experimentation and exploration.
As a social animal, I greatly value the collaborative process and the capacity of artwork to create and sustain community. The majority of my larger projects have been undertaken in a collaborative context because I find solitary art-making lonely and long-term friendships and collaborations to be nourishing and productive. When my work begins as a conversation between myself and other minds, I find it retains a greater capacity for continuing that conversation with its audience.
3. What are your influences/other interests?
My work with Pauline Oliveros, and her concept of Deep Listening, had a profound effect on me at a critical moment in my development, when I was trying to figure out how to transition from being a singer and a composer of fixed scores to being an electronics improvisor and a sound artist making more open-ended works. She had a talent for saying something simple and profound at exactly the moment when I needed to hear it, exposing and disrupting my most unhelpful mental routines and helping me to think about my practice differently.
At the same time I began working with Pauline, I came across an article by Katharine Norman, a composer celebrated in the field of Acoustic Ecology.  She writes: “Our ordinary listening is itself a complex, multi-layered activity of which hearing is but a part. In going about our everyday listening lives we take – I suggest – several different, but interdependent, stances, which amount to a dynamic construct. References, memories, associations, symbols – all contribute to our understanding of sonic meaning. Rather than deprive us of this activity, the real-world composer can treat it as a creative force, one which may be influenced, changed or subtlely directed to give us an enriched understanding of real-world sounds : listening is as much a ‘material’ for the composer as the sounds themselves.”  I owe a lot of inspiration to the field of Acoustic Ecology and the work and teachings of its luminaries, but this idea of listening as a compositional domain remains most profound and instructive for me.
My six years working for the choreographer Merce Cunningham, and with the amazing musicians who surrounded him, proved to me the benefits of letting go of parts of my process and turning some of the work over to the winds of chance that are blowing all around me.  I learned to trust that a touch of indeterminacy often grants access to experiences outside of the realm of my imagination, which I’ve come to regard as a preferable terrain to explore… the air is fresher there.
Finally, I am constantly inspired by my peers, by the artists I collaborate with and who share their practice with me.  The choreographer and artist Yanira Castro I have worked with for over 10 years at this point, and my friendship and collaboration with sound artist Scott Smallwood is nearing two decades, just to mention two among many.  I am moved by their brilliance and humanity and generosity — my best qualities as an artist and a human are things I have learned by observing them.