Monday, April 17, 2017

Eating Cereal :: G-R-R-Relational Aesthetics







    I'm not sure this piece would have been relational, if people hadn't spoken back to me, but it felt good to tell everyone about the genuinely very boring life experience I have with cereal and various kinds of milk. I don't consider myself a political artist, but I found myself veering in that direction, in my discussion of milks and their means of production.
    What I felt worked well about this was the fact that I did it in a "gallery" type setting with cameras all over me but I successfully ate the cereal and had a conversation like I would have if I had eaten the cereal at lunch an hour earlier. I think everyone there could see that, and that's what made it work. What made it relational was the fact that two people said they had had similar experiences to mine with cereal and Raisin Bran!

Relational Documentation from 4.17.17

Malcolm: 





Madeira:





Sara:




Veronica:


Hannah:







J:





Mike:















Wednesday, April 12, 2017

Tara Bogart: Immoderation, success, and material

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    Reading Relational Aesthetics has increasingly made me wonder what art would not be considered relational, when it really came down to it -- it seems like most work that appears in a gallery forms the kind of immediate micro-community that Bourriaud calls relational when one interacts with it. Tara Bogart's work in particular made me consider the relational nature of work shown in a gallery -- in the photos above, for instance, there is a clear relationship between the three women whose rooms are represented, and there is a clear space for the viewer to inhabit. In terms of the viewer's role, these works remind me of YB Artist Tracey Emin, and how many of her works simultaneously invite the viewer into a private space and tell the viewer to leave, because of the private, uncomfortable nature of the work in the gallery setting. 
    The fact that these are photographs raises other questions, however: would these works be more or less relational if the objects represented actually appeared in the gallery?  Can a photograph ever be relational? Am I simply applying the label relational because I recently read about it, or is there really something relational about these three images?

Wednesday, April 5, 2017

Facebook live Mood Ring :: NG :: 4.4.17

Images from test:


Screenshots during event:


Final count (last ten seconds): 


Full Video:


Saturday, April 1, 2017

Images and their context - Tyanna Buie artist lecture response - The frame is everything

Tyanna Buie's portraits were consistently striking, but the ones that held the most power, in my mind, were the side-of-face mug shots of her family members that she touched up and placed in ornate, gilded frames. The profile in the gold oblong frame, so consistently associated with the European bourgeoisie and royalty, lends a very direct and elevating power to these profiles that otherwise are associated strongly with their original context - the world of the prison industrial complex.

Buie has not, however, stripped these images of their original context, nor has she stripped the elite, wealthy associations from the frames she uses; instead, they become part of the same symbolic item that commemorates the lives of these black (mostly) men who are photographed carelessly in the same position the wealthy elites were painted in centuries ago, before they (the contemporary men) are locked up, part of the ongoing narrative of their lives that otherwise have little in common with those old European aristocrats.

Wednesday, March 29, 2017

Advanced New Media: Project 1 proposal

Inspired by the older trend of mood rings and powered by the more recent trend of Facebook live videos that track user's reactions (reaction button presses) to the live video, I will create a 3D-modeled mood ring on hand -- the color of which is informed by the reactions users have selected to the live video.

I'll record the live video; that recording will be the final product of the interaction-oriented piece.

Sunday, June 7, 2015

Learn to Skate with NG


Learn to Skate follows a set path; a clear narrative, but at the same time is an attempt to subvert the narrative structure and even the documentary structure, if you want to take it further.
Whether or not Learn to Skate successfully subverts two very established structural pillars of film culture is not necessarily important, but hopefully it at least leaves a viewer wondering what the point was, and why they watched it, and what the pretty parts were supposed to mean. Documentaries, narratives, they do something, but they're not always much to do with a life. Learn to Skate is -- it's about disappointment, struggle, ephemerality, vapidness -- it has some of what's really going on in it.

"Technology moves towards the functionalist distinction and in that way transforms everything and transforms itself as well". De Certau is talking, to some extent, about the practice of writing in the passage -- writing as a self-containing technology, which separates increasingly from reality as it is practiced. Learn to Skate, if anything, is not separate from reality, despite my acting, despite the way people react to the camera. Everything in Learn to Skate really happened.