Justin

Week 9: Tues. Mar. 16

  1. Review all lecture materials and videos below
  2. Write about at least one artwork, or food-culture reference that inspires your next assignment
  3. Post all research notes /images for a FOOD ART proposal – we will discuss your proposals and offer support in the next class.

Rod, Peggy, Bernie, Aislinn by Aislinn Thomas

I chose to talk about the artwork Rod, Peggy, Bernie, Aislinn by Aislinn Thomas. It is a six and half minute long video that is broken into four parts. Each part is occupied by a narration that recollects moments tied to food.

In the the first narration, following a title card of Rod, a moment is told of when their father made pancakes for the family. The moment revolves around pancakes being made, as well as the Killer Pancake. The latter being a giant pancake, taking the size of a pan and an entire plate. The narrator parallels the difficulty of continuing this moment as the years go on with a crumbling structure of the family. Conditions change. Family members change their diet and sleeping schedules making it is a matter of time and space that challenges the event in which the pancakes are made. As this moment is recorded in this video the narration comes to the point where they decide to make their own killer and not-so-lethal pancakes. The voice comes to an understanding as to why the killer pancake exists: It is the finishing pancake of the batch. When the person with the pan is fed up and is done with making pancakes. Poetically, the large pancake is exactly what it’s name suggests, it is a killer. It is an ending to a ritual. But it also links the narrator to memories of their father’s position in the family at that time and place.

The next two parts follow a similar process of remembering. In Bernie, the memory of their grandfather teaching them how to make bread is detailed. What begins as confusion becomes an intuitive process, but it is made clear through the grandfathers guidance. The theme of death continues in this narration too, after the passing of the grandfather, the narrator finds themselves hiding in the basement. What brings them out of hiding is the same food that they and their grandfather would make.

In Peggy’s segment, the narration reminiscences about their mother while making lemonade. It was also about how the both of them shared sensibilities about food-making. Food-making is about experimenting, taking measurements, breaking, rolling, and mending. For the narrator, there is an importance of pulling things together with what you have in hand that the process signifies.

It seems to me that food-making and food art is tied to a kind of genealogy. One that is tied to ritual value that is also personal too. These narrations make me reflect on my own food experiences, how they help us to connect with us. For myself personal, I try to learn how to make meals with my partner. it is something that I know she would like but also something I can learn and do with her. I do not think it is health to limit the things we can and cannot do with each other. But the idea of memory, loss, mending extends to the rest of my family, and friends too. I remember having pizza nights with a movie every friday night. Other nights my father with get a beguette and dip it in a plate of oil. There are many moments like this that are tied to food.


Notes


This might include actions that explore:
  •  The tactile/material qualities of food and food-related devices
  • The sounds of food, the smells of food
  • Memories of food
  • Food and emotions
  • Popular representations of food in culture
  • Relationships of food to the body
  • Food and gender
  •  Visual aspects of food
  •  How food changes in time
  •  How food connects us to each other

Either a 1 minute looping video or a series of 12 images – prepare video as if it were to be posted on instagram. 

FOOD ART PROPOSAL:

My proposal is to create a zine from cut up vegetables. The zine will have impressions made from the food, as well as a caption of their name and grocery code underneath. Only yellow ink would only be used to to associate with groceries stores like Nofrills. Each impression with be inked and pressed on recycled paper, that will be prepared to be folded up. The caption will be written in a yellow paint marker.

2 thoughts on “Justin

  1. Hi Justin!
    Week 1:
    Katchadourian notes complete and lots of reflection and engagement, 3 Book stack images complete and more – I find them a bit puzzling (you seem to use a very personal, idiosyncratic symbology) but I see lots of thinking and processing, and a genuine investment in the materials and compositions.

    Week 2:
    Notes on two text works complete and epic! Sometimes you are joking I think? Is it all absurd? But shows general level of understanding of critical ideas at play.

    Week 3:
    Text banner exercise and description – so much process and thinking, and close consideration of the article. Great choice of found words – but your materials/colours/and context are puzzling – again – sort of a very personal symbology that isn’t available to viewers. Oh man, imagine the possibilities with “looping”! You could hang it in a circle, where it loops, or other choices that really relate to the meaning of the words. Think more about how material, form, and context all expand meaning for a wider audience – and not just a personal story.

    Week 4:
    Nature video- I’m wondering if this is also a bit irreverent? Or earnest? Either way is fine – but I’d love to feel one or the other more strongly, as your explicit intention. I laughed watching it – and wondered if you might stand there and be a tree as long as you can? Or showing somehow the absurdity, futility, and gap between the human and the arboreal – in some new and affecting way…and why a cellphone video in the vertical frame? No tripod/fixing of camera? Think about all these choices, especially in a subtle work like this – they all matter.
    Notes – did you really dig into these pieces? A bit thin!

    I know the works we look at together are surprising, and sometimes even absurd. But trust these references and give them serious attention. Art is a conversation, and you have to listen to other practitioners from the past, and now, in order to participate.

    In your own work, think about experimentation (not knowing what will happen) and risk – push yourself but while being safe to make something with more complexity and seriousness.

    Thank you for your attendance and engagement in class discussions and activities. We’d like to see and hear more from you!

    If you would like to talk with me about your work in progress, readings, exercises, one-on-one comments on your work, and grades – send me an email in the morning to book a 15 minute appointment during the optional in person hours: Thursdays 2:30 – 4:30
    And you can show up to a zoom meeting with Nathan anytime during these hours to ask your questions, and get tech support for using software and finishing your projects:
    Mondays and Thursdays 1-4pm

  2. Hi Justin,
    Thanks so much for the dedicated work looking and reflecting on the readings and lecture materials, and the Yes No video worked out so well, I think you should all show it next year for Zavitz or in JAS. Thanks for your participation in class too – and contributions to all the exercises, baking, discussions etc. it’s wonderful to have you in the class and I hope we’ll see you again in Experimental 3!
    Diane

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