Often situating itself in public space, or creating an atmosphere wherein the definition of space maybe have an opportunity to redefine itself, Red76 initiatives utilize overlooked histories and common shared occurrences as a means of creating a framework in which to construct their public inquiries. Social histories, collaborative research, parallel politics, free media, alternative educational constructs, gatherings, masking, and public dialogue play a continuing and vital role within the methodology and concepts of Red76's work. The group, often in flux and geographically dispersed, is the moniker for initiatives most often conceived by Sam Gould, and collaboratively realized with the assistance of Gabriel Mindel-Saloman, Dylan Gauthier, Zefrey Throwell, Dan S. Wang, Mike Wolf, Courtney Dailey, Laura Baldwin, and many others. Along with producing many independent initiatives, on street corners, in laundromats, bars, and kitchen tables, Gould and Red76 have engaged in projects commissioned by the Institute of Contemporary Art Philadelphia, the Drawing Center, the Yerba Buena Center for the Arts, the Lower Manhattan Cultural Council, Printed Matter, Creative Time, the Douglas F. Cooley Memorial Gallery at Reed College, 01 San Jose, SF MoMA, Rhizome/New Museum, The Bureau for Open Culture, Manifesta 8, The Walker Arts Center, the Department of Education and Cultureal Affairs of the US State Department, and many others. The collaborative also produces the Journal of Radical Shimming, an on-going highly fluid free publication as discursive conduit for its initiatives and concerns.
A low-barrier of entry tag Paige Saez and Sam Gould were throwing around San Jose, CA. during the Zero1 Festival around the time that Red76 had a residency at Villa Montalvo in 2008. The “Obscene Materials” in question were projects, texts, and a Second Life recreation of some buildings from Home, WA., a little known - though much admired by R76 folk - anarchist colony founded in the late 1800s such south of Tacoma, WA. in the Salish Sea.
A re-working of city signage in Portland, Oregon c. 2005; handmade one-way signs posted over machine made municipal signs, stop signs, no-parking signs, et al.
Document: The Radical Domestic / A consideration of the first year of Henry and the false divide between so-called public space and the domestic (written for the installation of RD within the exhibit Local Time at the Wiesman Art Museum on the campus of the University of Minnesota.)
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