Wednesday, March 1, 2017

numeroneuf

i thought preparing for the gallery show was a good experience, considering i'd never done it before.
i'd been vying for an exhibition installation internship last year, didn't get it lol
but yeah i thought it was pretty cool, there's a lot of work involved even when you think it's not gonna be too much i think, it all depends on what you want the final product to look like, including how many people you have helping you
it's really cool how it was a team effort, having certain people doing the more hands-on, nailing into the walls and others writing stuff up on a document to be printed
i've read so many curatorial statements, i hoped the one i wrote was decent
they're usually very insightful, and a lot of people skim over them so they can view the actual artworks, but they're pretty important still
i used to want to do this for a career, like install exhibitions, work behind the scenes in them
and yeah i guess i still could, i don't know
i think it'd be reallllyyyy cool to install interactive art works
watching these very technologically-based works come to life
yeah, maybe this summer or not

Monday, February 27, 2017

numerohuit

i was kind of confused as to how to do this presentation, but idk, hopefully i make the point clear
i have been more or less influenced by art history as someone who makes art, and specifically prefers new media, and i think this project might have brought the two together, i don't really know

well here are some pictures and links to some things that have to do with McLuhan and Nietzsche,
i really suck at philosophy and interpreting it, but i think Nietzsche's still pretty cool,
so yeah here are some things i think that are pertinent to their common thoughts.
they're both pretty into being super experiential,
so with the whole "God is dead", the "Newtonian Universe is dead" sort of a thing, Nietzsche's urging us to stop listening to dogma; through McLuhan's eyes, he's telling us to stop sticking to one medium and explore all different kinds, because you never know where you go when you start to diverge (where modern science has taken us today)
so basically just try and experiment because the possibilites are endless (the divergence from Christianity/religion has been incredible)
                                                           
                                                        Marilyn Monroe, Warhol



Performance art on gender roles

Ryoji Ikeda - The Radar


Tuesday, February 14, 2017

nuemerosix




wishing we could all sleep and wake up like this baby


"One must be disinterested, accept that a sound is a sound and a man is a man, give up illusions about ideas of order, expressions of sentiment, and all the rest of our inherited aesthetic claptrap.”
-McLuhan

A sound is a sound, a human is a human, a snore is a snore and i am scared [by it].

i was staying over at a friend’s house.
he snored very loudly.
i woke up many times because i could not stay asleep with the noise.
why not snapchat it.

lumbering giant
monster machine being awoken
so afraid
can’t do anything
have to stay where i am
no where else to go
need sleep, have to stay here, don’t wanna wake anyone up to help me, to tell them to be quieter
it’s biological, natural
what’s natural makes me scared
what do i do
so helpless
really startled
scared
is it done
no its not
oh it's subsiding
nooooooooo
can't
get
away
from
it


^these are a combination of things i felt while i continued to keep being awoken by my friend, as well as memories of staying over in hotels on family vacations with my dad snoring even louder, since the hotel room was only so big for me and my four other family members. we all have to sleep, otherwise we'll be cranky the next day...




was reminded of warhol's sleep
more on warhol and repetition


Sunday, February 5, 2017

numérocinq

"Because something is happening
But you don't know what it is
Do you, Mister Jones?"
     -McLuhan, 105


Allan Kaprow - How To Make a Happening

i feel like there are multiple applications of this quote to Rasheed's talk. one way of looking at it is, there's literally this insane crazy ass subculture of voguing and pageant drag queen balls, something i was never exposed to until the Paris Is Burning viewing. so in this sense, yes, clearly something is happening and i am not aware of it, or at least i wasn't until a few days ago.
there's this world that exists, that has existed for so long, and i may never actually experience it, being a part of the crowd that hollers and pounds the runway when voguers drop to the beat, or one of the voguers themselves.
there's another way of drawing parallels between this quote and the talk - i was talking with one of the art history professors later about rasheed, and she told me how she'd never been into video art, she'd always been pretty turned off by the pervasive incomprehensiveness. 
to that i told her, the more incomprehensiveness, the more meaning there is.
or at least that's what i think.
in response to rasheed's 'incomprehensible' work, yeah it was weird, but there's so much more to be said. about how his work is a reaction to the perpetuating oppression blacks experience in america, how the founding idea of collage trickles down into all of his pieces to express the fragmentations and collisions of his identity


"Everyone is in the best seat. Everything we do is music. Theatre takes place all the time, wherever one is. And art simply facilitates persuading one this is the case."
-McLuhan, 119

he first talks about how he's like bell hooks, how both believe the "pedagogy lies in popular culture"
there's a lot to learn from what's being thrown at us again and again and again and again
yay warhol for showing us that there's no such thing as high and low art

i've always been a proponent for the idea that art is inherently democratic
audio, visual, whatever form
multimedia artists like rasheed set me alight
 (sorry if these few sentences are a bit banal, considering we're all in a new media class)
i've grown to the conclusion that rasheed-like artists are the most anti-social beings (according to McLuhan), if i could choose.
for the reason that they see how fluid art is, how ubiquitous it is, and they act as the laisons between these profound messages lessons meanings etc. that exist in our day to day, and they make stuff out of as much media as possible to convey to social beings just how much beauty (whatever that is) rests, jumps from, rolls about in our environment(s)



go rasheed


Some interdisciplinary artists and their work
10 Contemporary performance artists to know
Marina Abramovic: Advice to the Young



















Monday, January 30, 2017

numeroquatre

umeshu

non-conformity, anti-socialness - so according to McLuhan, artists have a particular job.
how do i sharpen others' view of our current environment?
umeshu.

this photo series is about containing and commodifying culture.
we observe it, put it under microscopes to uncover more meaning from it (archeology), are struck by awe when we see it in a glass vitrine (museums -> exoticizing, romanticizing)
how do we obtain consent from the culture when we put these artifacts on for display, do we look towards the people themselves or to those who are "qualified" in that area of study/people,
am i exoticizing the culture by viewing this"revered" type of fruit and calling it a brain,
is it okay that i manipulate these images so that you are intrigued by whether or not i am holding a container of a brain?
this is alcohol.
drinking alcohol is fun.
what we do to culture is fun
?????



Sunday, January 22, 2017

numérotrois

Doing Stuff In My Room

“the new feeling that people have about guilt is not something that can be privately assigned to some individual, but is, rather, something shared by everybody, in some mysterious way.” (61)


Well, my work is clearly something about [my] private life made public, since it is a film of stuff I do in my room, by myself. I saw this quote/passage relating to my work and vice versa because guilt is one of those hefty gray-cloud feelings that may be associated with others like fear or anxiety, and these are sentiments that are more-so private than public-oriented. My work, more or less, focuses on this private sphere turned public, the direct result of my rolling camera. Anxiety may be sensed as I sit down on my bed with my headphones in, as well as apprehension, when I looks straight into the camera. Are my burdening feelings mitigated because others are watching me experience them, so I am not alone in all this? Or are they amplified because there is a more distinguished divide of me against them? How do we deal with these feelings that can be so heavily individualized after we know so many others have encountered the same exact thing?


“The past went that-a-way. When faced with a totally new situation, we tend always to attach ourselves to the objects, to the flavor of the most recent past.” (73)


I felt that this passage connects the most with the embedded photographs and the accompanied zooms and outs in certain parts of them. The photographs are of objects (except for my nose, but even then, it is a photograph of my nose) and the camera, or actually the editing, zooms all about, seemingly, in an effort to search for something. It is the same object/photograph, and the zooming everywhere might mean we, the viewers, are looking so hard to find some sort of answer, solution, or idea to whatever problem or reality we must deal with. I feel like we tend to always look towards these things that are artifacts of our time, for the purpose of trying to see and understand the processes that went into creating these objects that are physically manifest, in hope of using those processes and energies for our own agendas, that require of us something that we feel we cannot conjure from just ourselves.