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DESCRIPTION: _Federal\, State\, County and City (The Deferment of Impatie
 nce and Motor Responses to Being in California with Laura 'Riding’ Jac
 kson\, Florence Knoll\, Kruder and Dorfmeister\, José Feliciano and Ger
 trude Stein)_\n\n\n*Exhibition Dates:* March 23 - May 19\, 2012\n*Specia
 l Performance: _Jose y Jose (California Dreamin’)_* March 8\, 2012 6-8
 pm\n*24 Hour screening at "The Museum of the Moving Image":http://www.mo
 vingimage.us/:* March 24 – Sunday\, March 25\, 2012\n\n\nNew York\, NY
  — Beginning Friday\, March 23\, Third Streaming is pleased to present
  a selection of photographs\, including never-before-exhibited prints\, 
 from New York and Houston-based artist Mary Ellen Carroll in _Federal\, 
 State\, County and City (The Deferment of Impatience and Motor Responses
  to Being in California with Laura ’Riding’ Jackson\, Florence Knoll
 \, Kruder and Dorfmeister\, José Feliciano and Gertrude Stein)_.  As a 
 part of the exhibition\, Carroll’s 24-hour\, two-theater film\, Federa
 l\, will be screened at the Museum of the Moving Image from 9am on Satur
 day\, March 24th to 9am\, Sunday\, March 25th.  \n\n“Since Carroll beg
 an to photograph the Federal Building in Los Angeles 15 years ago\, her 
 project has grown to incorporate photography\, printmaking\, and perform
 ance art\, as well as filmmaking\,” says Yona Backer\, director of Thi
 rd Streaming. “In a sense\, for all these years\, she has been investi
 gating two fundamental questions: what does it take to really see someth
 ing and what do we consider a work of art?” \n\nThe works on view in _
 Federal\, State\, County and City…_ include 24 cibachrome prints taken
  during the filming of _Federal_ (2003)\, documenting the northern faça
 de of the Federal Building that houses the FBI\; 66 black and white Pola
 roid photographs and an enamel on metal from the _Kruder and Dorfmeister
 _ series (1999-2000)\, in which she documented every public library in L
 os Angeles\; and two examples of _Nowhere_ (2002)\, a series made up of 
 an unidentified group of vacation snapshots\, which were mistakenly deli
 vered to Carroll.\n\n_Federal_ provides the backbone of the exhibition i
 n both name and concept.  The project evolved out of a series that Carro
 ll started in 1990 when she began to photograph every federal building i
 n the United States. The events of 9/11 and the subsequent increased sec
 urity measures ended this photo series\, and the decision was made to co
 ntinue the _Federal_ project by shooting the 24-hour\, two-theater film 
 of the Los Angeles Federal Building. It took a year and a half for Carro
 ll to complete the paperwork necessary to execute the project\, and the 
 movie was finally shot on July 28 in 2003. The project thus probes the g
 overnment’s complicity and willingness to be filmed over an entire day
 \; the tables have been turned so that those normally responsible for su
 rveillance are being watched themselves. In this way\, the process of ob
 servation is just as much a part of Federal as the resultant video and i
 mages. \n\nIn _Kruder and Dorfmeister_\, Carroll photographed every pubi
 c library in the city limits of Los Angeles using a Polaroid Automatic L
 and Camera.  As exhibited at Third Streaming\, they create a catalogue o
 f buildings that seem antithetical to the pop culture\, Hollywood aesthe
 tic of Los Angeles. \n\nWhile _Federal_ and _Kruder and Dorfmeister_ der
 ive much of their meaning from the specifics of place and the connotatio
 ns of Los Angeles\, Carroll’s series\, _Nowhere_\, relies on the oppos
 ite phenomenon – the condition of being nowhere. Originally\, the seri
 es was to feature a selection of photographs that Carroll took while on 
 an intentionally unpleasant cruise to the middle of the ocean. When she 
 picked up the resultant images from the photolab\, she discovered that t
 he technician had mistakenly included an extra set of photographs from s
 omeone else’s beach vacation amongst her images of the Pacific Ocean. 
 Assessing that the photos were most likely taken somewhere in Greece\, C
 arroll took the images to the Greek Consulate in hopes of identifying th
 e island setting. The consulate could not deduce the locale\, and neithe
 r could a number of travel agencies Carroll later consulted. The photogr
 aphs were\, in effect\, taken nowhere\, existing in a liminal state betw
 een identity and absence. To expand on the experience of the mistake\, C
 arroll worked with Brand X Editions to realize the special edition print
 s of the unknown photographs\, printed in reverse as large silkscreens o
 n vellum and folded numerous times. The resultant work implies chance\, 
 pleasure and nostalgia\; the photographs appear continually found\, unfo
 lded and rediscovered\, but never become more familiar than the souvenir
  of someone else’s journey.\n\nMary Ellen Carroll is noted for a proli
 fic career spanning more than twenty years and a range of practices from
  art to architecture to performance and film. Carroll is the recipient o
 f numerous grants and honors\, including a Graham Foundation Fellowship 
 for prototype 180 and Innovation Territories in 2010\, and AIA’s Artis
 t of the Year Award\, 2010. She has also received a Pollack/Krasner Awar
 d\, a Rockefeller Foundation Fellowship\, a MacDowell Colony Fellowship\
 , and a grant from the Pennies from Heaven Fund. \n\n_Federal_ was creat
 ed with the support of a Guggenheim Fellowship that Carroll received in 
 2003\, and with technical and material contributions by the Panasonic Co
 rporation\, Strypmonde Foundation\, Outpost Digital and Michael Isabell 
 of Eyespy Films. The screening at the Museum of the Moving Image has bee
 n made possible by The Andy Warhol Foundation for the Visual Arts. 
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SUMMARY:Mary Ellen Carroll: _Federal\, State\, County and City..._
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