Categories
Art Art Theory and Movements Performance and Conceptual Photography Post Modernism

Public Isolation Project

Being on medical leave (for knee surgery) subjected me to RICE (Rest, Ice, Compression, Elevate – Thanks, BFF and Google), reading and playing Words with Friends (via my iPhone). Since I love being outdoors, taking walks (anywhere and, sometimes, aimlessly), it’s safe to assume the recuperation period has been challenging and makes me rather talkative when my girlfriend comes over to have dinner after a hard day’s work. Good ole cabin fever starts to make me wonder all sorts of things and was quickly reminded of how I have a connection to people outside of these walls. Whether it’s through social networking, texting, chatting on gChat, posting some random thought, picture, or video on my tumblr, or writing about art; people are bound to know some aspect of my personality even if they don’t know me. Ten years ago, it was a bit taboo engaging in some online rendezvous and perhaps, a bit on the desperate side for those who consider themselves introverts. Nowadays, it’s strange if you’re not connected to the rest of the world. My goodness, if you don’t have a phone, people look at you as if you’ve been in some cave.

I love art because it takes you out of yourself. The displacement that occurs when you go to a museum, gallery, or an art opening is the very reason artists are extremely important in this touch screen interface laden culture. Cristin Norine and Joshua Jay Elliott have created a project examining the effects of technology and the degradation of face to face interaction. Norine will be living in a studio space exposed to the world (well, physically, anyone in Portland, Oregon), for 30 days, communicating ONLY through technology (i.e., Skype, social networking, Face Time, e-mail, texting – you get the point). Consider me intrigued…

Is it art? If you’re talking about it and asking the question, it probably is.

You can read Norine’s blog here.

Categories
Art Art Theory and Movements

a Los Angeles aesthetic

One of my new favorite blogs – a Los Angeles aesthetic!

This recent grad has much to say about contemporary art and her blog is filled with reflections and photography. As a matter of fact, her entries remind me to carve time out of my busy schedule to address the things I love outside of the office. Her blog certainly serves as a catalyst for me but it’s also a great way to see what’s going on in her area (Santa Monica, CA). Please give her blog a visit!

You can also find her listed on my Blogroll should you need a reminder of where to find the LA Aesthetic!

Categories
Art Art Theory and Movements Artist's Studio Post Modernism

A nice new addition to the blog roll…

Hello Friends! Please check out 101 Conceptual Art Ideas. It’s a clever blog about, well, you guessed it, Conceptual Art Ideas. You can actually find the link under “art places/spaces” under the Links section!

Some of you may ask, “Why do you love this blog, Dorothy?”

Answer: It’s simple. It starts a dialogue. Please visit and talk to me or anyone you know. The conversation may last for 2 minutes or 2 hours. Regardless, you’ve been equipped with more art knowledge.

Categories
Art Art Theory and Movements Artist's Studio Film Performance and Conceptual Photography Post Modernism Visual Arts

Retro-Tech

Hot off the presses…Enjoy!

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Is the imagination a mode of technology? What role does the imagination play in technological advancements such as sensor-laden homes, personal GPS devices, and televisions that can display four channels simultaneously? Artists for Retro-Tech, an exhibition at the San Jose Museum of Art, answer the question of how imagination operates in combination with technical knowledge, and ask the viewer to engage in re-working notions of technology quite imaginatively.

The exhibition includes Katya Bonnenfant, Aleksandra Mir, Tim Hawkinson, Scott Kildall and Victoria Scott, among others. Each salvages what may have been forgotten by colliding past and present, known with the unknown, imaginary and physical space.

Mir’s collages re-contextualize imaginary space and religious iconography. She delicately places pious imagery within galactic space. Through such visual dichotomies, the viewer must reconcile unearthly opposites. In Aerial Mobile (1998), Hawkinson utilizes television antennae, fabric, and strings to provoke the viewer into seeing an obsolete object—the television antennae—in a different modality. The object embodies movement rather than functioning as it has historically, to make a moving picture still.

Bonnenfant meshes old and new technologies in her piece 2:57 Onibaba Anguish from “Vintage Packaging for Animation” (2009). In it, digital animation commands the viewer’s attention via an iPod Touch carefully installed within a vintage clock. Her craftsmanship in re-fashioning a retro digital clock illustrates what happens when imagination works in tandem with technology. Her confinement of the new by the old forces the viewer to recognize rapid change in a digital age.

The “No Matter” collection is the opposite of its name, but playful semantics remind patrons that these art objects, at one point, were derived from the imagination. Scott Kildall and Victoria Scott venture into a virtual economy by working with

Scott Killdall and Victoria Scott. Gift Horse, 2010; installation view photographed in progress. Courtesy of the Artists and the San Jose Museum of Art.

Second Life users to bring imaginary objects into physical space by painstakingly and meticulously creating paper sculptures from inkjet prints on archival paper from digital renderings. In addition, the complexity of Kildall and Scott’s process and production alone couldn’t have prepared the museum staff for the arrival of a monumental thirteen-foot-tall Trojan Horse, reconstructed as a No Matter project and embedded with handcrafted viruses by visitors and artists alike. The horse was “gifted” to the museum and served as an incredible bridge between new technology and old-fashioned art making.

The exhibition also includes the work of Jennifer Allora and Guillermo Calzadilla from Puerto Rico; the collaborative work of REBAR (Blaine Merker, John Bela, and Matthew Passmore), from San Francisco; Camille Scherrer from La Tour-de-Peilz, Switzerland: Xu Zhen from Shanghai, and Ricardo Miranda Zúñiga, based in New York. Although these artists present varying methods of reinventing old technologies, collectively they show imagination and technology are, perhaps, synonymous. Technology makes one more imaginative, but it is the imagination that provides the impetus for technological advancement and ingenious iterations of the past.

You can visit the Shotgun write-up here

Categories
Art Art Theory and Movements Film Performance and Conceptual Photography Visual Arts

Support Oakland Artists!

Although I’m a San Francisco Native, I LOVE Oakland immensely and believe the Support Oakland Artists organization has set up a great web site to survey the community and create services and increase resources to the art community.

Categories
Art Art Theory and Movements Film Modern Period Performance and Conceptual Photography Visual Arts

The Other Other Revisted

I posted an entry about ‘The Other Other show some time ago and wanted to post something more substantial. This is long overdue and a work in progress. Hopefully, I can give a worthy reflection and summation of the show, which includes artists, JC LenochanEric SanchezLuther Thie, and Kathryn Williamson.

So, what exactly is the  notion of “Other”? I’ve always thought exploring ‘otherness’ was a rather futile concept until now. I think much of that had to do with my issue of how I consider myself within a group or community. Being a queer Filipina woman, I always thought you can’t more ‘other’ than that, can you? I was very wrong. I know there’s a big ole world out there filled with so many differnt types of individuals into all different sorts of things and creating a wide array of sub-cultures. Yes, I did in fact realize some time ago that there’s so much more to the concept of ‘Other’ and ‘Otherness’ than ethnicity, sex, and gender. Lenochan, Sanchez, Thie and Williamson go beyond vernacular understanding of ‘Other’. They dig deeper than most for this particular show and showcase various perceptions of ‘Other’.

Lenochan draws us into a history lesson by creating a two dimensional pieces that conjure up an culmination of historical refernces. In the viewer’s mind, there is a re-visiting of textbooks and lectures. The green chalkboard balanced by a muted fire engine red chalkboard are displayed against a large white wall. Remnants of the past help us conceive, even further, the idea of someone outside of ourselves. The viewer starts to piece together their own recollections and fragmented understanding of the past.

With my own aspirations of looking at ‘Other’, Lenochan does a phenomenal job at utlizing traditional media to showcase a powerful message about the intersections of race, ethincity, culture, sub-culture, histories and a collective conscious through his multi-layered drawings.

Eric Sanchez’s work, Animalia Hybrids, is a jarring look at the topic at hand via cross pollination of a readily known subject matter – care for other. He alludes to care for other(s), in this case, children and animals or pets through optical illusion. Upon visiting his site, you learn a bit more about the impetus of his project by combining notions of care for children and care for animals or pets. Outside of the gallery, you’ve probably heard a pet owner refer to his/her pet as their ‘baby’ or ‘child’. What I find visually challenging and engaging about Sanchez’s work is that he takes that very notion and shows you and extracts a response of your own notions of care into question. He throws the viewer into a serious connundrum when through his photographic depictions of care for ‘other’.

Luther Thie’s work combines one’s past experiences and real depictions of real people for the viewer that is randomly generated through a special Jitter program. The engagement required by the viewer is the crux of the piece. Although humorous at first glance, there’s a sense of guilt that sets in as I watched the participants giggling while answering the questions posed by the program. For example, an older chinese man’s photograph would come up with the question, “Do you find this individual attractive?” or “Do you find this individual suspicious?” One begins to take into account the very nature of their own judgements of ‘other’. The questioning then turns to the viewer and how they are perceived by others. The circular effect created by Thie’s work is a testament how the questioning ‘otherness’, we start to question ourselves.