80 Washington Square East, NYU

Stand Up Comedy

Personals

June 29 – November 10, 2024

Broadway Windows*

I have always thought of Stand Up Comedy (b. 2007, Portland, Oregon) as a container. And this container would hold ideas representative of daily life, expressed through styles, labor, and a very small portion of culture as it influences our world. The minute aspect is emphasized, as the specificity of the focus is a way to engage productively with more dominant forces. It is a way to bring some kind of order to a continuous nagging feeling of disquiet that people who are interested in such things often experience. This feeling is sometimes distressing, mostly pleasurable, and always distracting.

The store is not comprehensive in its interpretation of what is happening now. But through our trust in the designers and artists who’ve been foundational to this SUC way of thinking, we’ve attempted to de-center some of the established order of how to look and what to see. These individuals have helped to further refine our container, keeping its boundaries fluid, and energetic. No ideal form of a shop exists, but we try to hold the raindrops in our hands, to give those instincts a home to land, and scatter.

—Diana Kim, Stand Up Comedy


With:

69
Bless
pelican avenue 
IKO IKO/Kristin Dickson-Okuda
O-R-G
Flint Jamison 
Scott Ponik 
Julie Peeters 
Alec Marchant

Organized by Stand Up Comedy.
  
Commissioned by Howie Chen. Produced by Jon Huron, 80WSE. 

* Broadway Windows gallery is a series of five street-level display windows located at the corner of Broadway and East 10th Street. The installations can be viewed 24 hours a day, seven days a week.  
Corner view of a street-level storefront at dusk with large arched windows displaying minimalist interior installations, including hanging garments and artwork. A motorcycle is parked on the sidewalk, and street signs, a newspaper stand, and traffic light are visible in the foreground.
Installation view
Evening view of a storefront window displaying minimalist fashion pieces hanging on sculptural metal racks. The text “STAND UP COMEDY PERSONALS” is visible on the wall. A motorcyclist waits at a crosswalk while pedestrian and traffic signs, newspaper dispensers, and a lit “walk” signal frame the foreground.
pelican avenue
Nighttime view of an illuminated storefront window labeled "Broadway Windows, New York University." Inside, sculptural metal racks display minimalist garments and accessories against a white wall. Text is faintly visible on the glass and carpeted floor of the installation space.
pelican avenue 
Storefront window display at night featuring a sculptural black necklace, a row of hanging bags, a tailored gray outfit on a hanger, and a red plaid fabric draped over a round chair. The setting is minimalist with a white wall and dark carpeted floor.
Bless
Night view of a storefront window display with a green gradient backdrop. A ceiling-mounted mechanical arm holds an illuminated hanging object. To the left, a vintage monitor displays a geometric logo. A blurred pedestrian walks past on the sidewalk, and a red fire hydrant is visible to the right.
O-R-G (left) and Flint Jamison (right)
Daytime view of a storefront window display labeled “STAND UP COMEDY PERSONALS,” featuring a row of four large blue cotton-stuffed jeans, arranged against a plain cream-colored backdrop.
69
Storefront window display styled as an eclectic workspace with mismatched chairs, a white desk, a table lamp, and a monitor. A fuzzy clock with a tail-like cord hangs on the wall. The setup is framed by a neutral background, and reflections of nearby buildings are visible in the glass.
IKO IKO/Kristin Dickson-Okuda
Street view of a building with three large storefront display windows. The left window features four large blue padded jeans, the center window displays hanging garments, bags, and a draped red chair, and the right window shows sculptural clothing racks with minimal garments. A green parking sign stands on the sidewalk in front.
Installation view
Clothing display with graphic-printed jeans, shirts, and jackets arranged on racks and stacked on the floor, accompanied by a vase of green flowers and a pair of blue platform sandals in a boutique setting.
Come Tees (CA) greets you at the store entrance on this wintery day in 2016. Rose Mackey, our then manager, is wearing a pair of the now legendary jeans. What you don’t see is the baby crawling beneath the clothing rack as Rose smiles beatifically. This day is distinct because it is during the busy holiday season and a crew of shoplifters attempted to make off with the featured merchandise.
Storefront display featuring softly draped cream-colored fabric, a pillow on a wooden stand, and a hanging white leather bag against a wood-paneled backdrop.
Rowena Sartin/Iko Iko (CA) makes their Stand Up Comedy window debut (2016) with a series of home-referencing objects, namely, all manner of pillowcases made with luxurious crushed silk and utilitarian muslins. Extra long and exaggerated or converted into peplum bags, they mash up utilitarian and decorative ideas, useful or beautiful or both.
Black-and-white promotional headshot of Julia Louis-Dreyfus as Eileen Swift from the 1988 sitcom Day by Day, wearing a blazer with large earrings and a confident expression.
A headshot of Julia Louis-Dreyfus from one of her lesser known roles, Eileen Swift from the sitcom Day by Day (1988). This image was used by us in 2018 because Louis-Dreyfus is an actor who has been an inspirational figure to the store, starring in an objectively tedious show, that is related to a formative one (Family Ties), and a ubiquitous production company whose theme is permanently seared into the subconscious (sit Ubu sit; good dog). 
A woman wearing Anntian’s Silver Food dress with colorful food imagery poses in front of a mirror with arms raised. The dress is semi-sheer and paired with mustard-yellow tights and silver shoes, set in a vintage display room with wood cabinetry and glass shelves.
Anntian’s Silver Food dress (2019), a piece regretfully missing from the Stand Up Comedy archive. If you are lucky enough to procure this one, keep it. Shot by Mindy Byrd, styled by Pauline Kim, worn by Jessica, the model who dislikes modeling and is therefore always honest in her looks.
A hand-drawn cartoon labeled "CASUAL FRIDAY" shows a roll of paper towels feeding directly into a paper shredder.
SUC Clip Art (2018) for a “casual Fridays” themed newsletter, aimed at convincing subscribers that office wear should be as expressive as weekend attire.
Minimalist image using emojis: a white rabbit on the left, a video camera in the center, and a gray rat on the right with a thought bubble above its head.
SUC Clip Art (2015) for an email newsletter. A rat films a rabbit through a camcorder, while an empty cloud bubble hangs over the scene. An early work commissioned from the clip artist, who will go on to create many more memorable and head scratching images for the store.
Stylized emoji collage on black background showing a hand drawing a cross on a lipstick, with a wine glass below emitting a swirling tornado-like vapor.
SUC Clip Art (2016) for an email newsletter touches on themes important to the store, namely pleasure (wine), effort (tornado), work (edits), and vice (lipstick). All linked, all life, all the time.
Person wearing enormously long dark denim pants, paired with beige low-heeled shoes on a white background.
This image from 2017 features the classic Martiniano High Glove shoe, which has been a staple for many years in the store. The image is shot by Melissa Doran and Honey Owens, and manipulated by Scott Ponik for an email newsletter. The purpose of the email is to promote newly marked down styles. Mr. Ponik designed the newsletter with an enticement to access these lower prices at the top, and invites the receiver to scroll to the bottom where a link is offered to reap the reward.
Receipt form from the store “Stand Up Comedy” featuring a cartoon of a smiling man with his head humorously tucked between his legs, pointing upward. The form includes fields for purchase details, contact information, and payment method.
Stand Up Comedy relocates from the east side of Portland to its current downtown location in 2015. Shortly thereafter, it retires the analog sales system of handwritten carbon sales receipts. A charming, labor intensive and error-ridden system that requires many printed materials. Every employee at the store has horrible handwriting. 
Display of cream-colored fabric with oversized clothing labels exposed, including one prominently reading “ROWENA SARTIN.” The setup rests on a dark blue surface.
A close up image of the tags attached to the pillowcase objects made by Rowena Sartin/Iko Iko for the Stand Up Comedy windows (2016). A replica of the long, often confounding tags one finds attached to bed linens and mattresses, the artist uses this space to share thoughts on the internal questions one might ask while at rest(lessness).
Glass display case in the process of being prepared for installation or renovation, with pink protective paper lining the base and paint supplies including a can of white paint, a paint roller, and blue painter’s tape scattered inside.
Build out begins at Stand Up Comedy’s new 511 SW Broadway (2014) location after lease signing. A nearly 6-month process that sees the birth of a child, the move of a home, and the start of a new chapter for a small, family business.
Glass display case with a Sony CRT television showing an image of a person with text reading “CALL SOONER THAN NOW!” and “1,000,000 ways to wear!” against a blue background.
In spring 2017, the Stand Up Comedy window displays video work by Mae Elvis Kaufman for designer Suzanne Rae. The piece satirizes 80s daytime television aimed at women and their supposed interests, and presciently, the birth of multilevel marketing. All featuring Ms. Rae’s popular Feminist Kimono dress.
Screenshot of the Stand Up Comedy online store circa 2016, featuring models in minimalist outfits on a stark white background. A product tooltip for Issey Miyake Bounce Drop Crotch Pants is visible. The site, designed by Scott Ponik, reflects an intentionally analog, anti-slick aesthetic that echoes the brand’s original Indexhibit layout.
In 2016, Stand Up Comedy closed its original Indexhibit website (shopstandingup.us) and launched standupcomedytoo.com. This new site, designed by Scott Ponik, retains much of the same DNA in its feeling of analog uselessness.
Close-up of a person wearing a sheer blue top, teal pants, and a denim jacket. Their gloved hand, adorned with chunky gold and silver rings, is placed on their chest, highlighting the jewelry.
Rings by Leigh Miller are worn with gloves that could be identified as used by jewelers, worn by majorettes, or deployed by mimes. Shot by Melissa Doran and Honey Owens in 2017.
Glass display case with a dark blue carpeted base and wood-paneled walls, featuring delicate hanging chains resembling abstract spiderwebs or jewelry strands suspended from the ceiling. Reflections of red lights and signage are faintly visible on the glass.
The Stand Up Comedy window features an installation by the jeweler Samma (2017). Delicate chains are hung to balance between shadow and light, emphasizing negative space through patterning and materiality. Photo by Melanie Flood.
Glass doors of the Stand Up Comedy store decorated with lush holiday foliage, including gold, green, and silver-toned branches and leaves. Sculptural black door handles sit at the center. Store hours are printed on the door: “Monday–Saturday, 11–6pm.”
Holiday decorations celebrating winter 2017 adorn the shop’s normally stark security gates. Floral designer Manu Torres is tasked with creating a harmonious seasonal message that is beautiful to view without being sentimental.
Hand-lettered black text reading “stand up comedy.” on a white rectangular sheet placed on a dark textured surface. The lettering is bulbous and playful.
Commissioned for its opening in 2007, A-Frame signage options hand-lettered by designer/typographer Karl Nawrot.
Select SUC Newsletters (2008-2012):
A black-and-white catalog-style layout titled “Psychic Self-Care,” featuring curated items such as books, jewelry, perfumes, mobiles, bags, and hats. Each product is shown with a photo, description, price, and seller details. The page includes retro-styled typography and graphics, emulating the Whole Earth Catalog aesthetic, with contact info for Stand Up Comedy highlighted in green.
In the spirit of the Whole Earth Catalog, prepared as a holiday special, with captions and photography reflecting the cadence and look of the iconic original (2008). An early edition of a newsletter system that would be designed on the Stand Up Comedy letterhead.
Store layout map for Stand Up Comedy featuring labeled sections for designers and product categories such as “SIX SCENTS PERFUMES,” “BOOK BAGS,” “SHOE REPAIR,” and “SUNGLASSES.” Brand names like UMUOOL UMUOOL, CREATURES OF THE WIND, and RACHEL COMEY are listed in distinct blocks. Contact information for the store is printed in green text near the top right. Areas labeled “OFFICE” and “DRESSING ROOM” appear at the bottom.
Way finding for our original one-room, 180 square foot space, showing the location of every brand and object in the store (2008).
Black-and-white image featuring a masked figure with skeletal face paint and a veiled headpiece beside a man in glasses and a suit. Above is a Yves Saint Laurent quote: “To be beautiful, all a woman needs is a black pullover and a black skirt and to be arm in arm with a man she loves.” Below, bold text reads “R.I.P. YSL” with stylized typography.
Upon the passing of Yves Saint Laurent (2008).
Newsletter layout titled "Institute for Creative Misunderstanding" featuring excerpts of text, small black-and-white images, and a full-color photo of the Portland Building by Michael Graves on the far right. The spread emphasizes themes of misreading and includes the heading “Intangible assets.”
All selections that emphasize misreading, with a special emphasis on architect Michael Graves’s maligned Portland Building. Featured designers were included in a second newsletter sent the following day (2008).
Event flyer titled “RAIN IS OVER!” in large black bold text, announcing the NR20 RAINWEAR launch—a collaboration between Slow and Steady Wins the Race and Stand Up Comedy. Text describes the collection of rainwear inspired by Portland’s weather. Details for the April 16, 2009 event at Fourteen30 Contemporary in Portland are listed below, along with RSVP info and support credits.
Created to advertise the Stand Up Comedy/Slow and Steady Wins the Race rain wear collaboration (2009). The pianist Luke Wyland, in addition to his own compositions, was tasked with playing the theme from television series The Office for as long as it was tolerated.
Black-and-white event flyer for Stand Up Comedy featuring a large wooden letter “B” at the center. Text explains the launch of “B...” as a permanent fixture beginning May 16, 2010, with rotating contributors. Details for a talk by Stuart Bailey on May 16 are listed on the right. Contact info, store hours, and RSVP information are provided on the left.
Moving into a new format, the newsletter is now designed as part of a system of collateral allowing one document to serve as stationary, gift certificate, price tag, postcard, and letterhead. The “B” is a shelf built to house a rotating mix of books and objects selected by persons invited to do so by SUC (2010). Inaugurated by Stuart Bailey.
Event flyer for Stand Up Comedy featuring scattered bold black text announcing “A Modest Proposal” by Natasha Wheat on Sunday, March 27, titled Cups for the Water Cooler, edition of 250. Additional details reference the PSU MFA Lecture Series at Portland State University. The flyer includes a list of contributors and collaborators in small print near the bottom, above five photos of a woman standing in profile, turned slightly in each frame.
“B” features a stand in by the SUC water cooler, with water cups designed by artist Natasha Wheat (2011).
Poster for Stand Up Comedy titled “The Endless Winter,” presented by “The World’s Smallest Department Store.” The center features rows of black asterisks in varying groupings. The bottom lists participating artists, designers, and collaborators in small gray text with asterisks, including Cosmic Wonder Light Source, Electric Feathers, Henrik Vibskov, and more. “STAND UP COMEDY, PORTLAND, OR” is centered at the bottom.
As summer approaches, the notorious pacific northwest June gloom is highlighted and scorned (2011).
Poster titled “KEEPIN’ IT SLOW” featuring an aerial photograph of a suburban neighborhood with multiple swimming pools. Text wraps around the image in a circular and vertical layout, listing artists, publications, and projects. “STAND UP COMEDY” and the store address “811 E Burnside Street, Portland, OR” appear at the bottom.
As summer winds down, we reflect on thoughts of pools and heat and suburban cul de sacs (2011). An example of continuous, possibly opaque narratives through communications.
Newsletter dated November 17, 2011, for Stand Up Comedy (SUC) in Portland, Oregon. Features a photo of a person holding their hand over their face, showing rings by Samma and Quarry. The page lists highlights of featured products and designers, including Cosmic Wonder Light Source, Stephan Schneider, FR David, Samma, and more. Contact information, store philosophy, and upcoming events are included at the bottom.
An early example of presenting information using templates already established by various entities. This one may have been from Resumes for Dummies. Also serving as an anti-announcement that SUC did not have a social media presence, as the directives to Facebook/Delicious/Twitter lead to nowhere (2011).
Newsletter dated May 31, 2012, announcing the remodel and expansion of Stand Up Comedy in Portland. The layout resembles a store floor plan with categories like “Books,” “Bags,” “Perfume,” and “Clothes” placed around the page edges. It includes updates such as a signage residency by Harsh Patel, a welcome to studio Andy Pressman and Alec Friedman, and a limited-time offer on a publication by Aaron Flint Jamison. Store address, hours, and social media info are also listed.
Another take on a store map, and announcement of the second expansion of the store which allowed for an elaborate, zig zag entrance to the dressing room that required no door or curtain (2012).
Resources:

Email newsletters archived from 2013-2019