TEXT Instructions for the world:

Text based prompts, interventions, and multiples

Jon Sasaki

Napkins (Materials Safety Data Sheet)

2011, Multiple, paper serviettes printed with one of three colours of ink. 5″ x 5″

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43_napkin-yellow
43_napkin-red

A Clock Set to 24 Hours Into The Future

2014-2015, public artwork for Sheridan College’s Temporary Contemporary, Trafalgar Campus, Oakville Ontario.

“Unlike most campus clocks, this one has been set 24 hours fast, always displaying “tomorrow’s time.” Of course, on a four-numeral digital clock, tomorrow’s time appears indistinguishable from “today’s time,” and therein lies a small bit of levity that is intended to open up a range of poetic interpretations.”

“A clock tower running 24 hours fast is in fact practical and functional in the present, but serves also as an aspirational signpost pointing towards the idea of tomorrow.” From his site Jon Sasaki

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(the accompanying didactic panel)

An Obsolete Calendar Towel Embroidered with an Identical, Future Calendar Year,
1970/2065, 1982/2049, 1976/2032 and 1969/2042

2012, ongoing, embroidered found vintage textiles, each approx. 17″ x 28″.

In an ongoing series, obsolete calendar towels have been embroidered with the date of an identical, future calendar year. Beyond giving the discarded object a renewed relevance, it proposes a disturbingly banal vision of the future… that decades from now we will still be pining for some vague 19th century inspired nostalgia… covered bridges, copper kettles, cast iron stoves and millponds… images that were anachronistic wishful fictions even at the time the calendars were first printed.From his site Jon Sasaki

Please Don’t Take This 1000 Yen

2013, intervention in the neighbourhood of Konohana, Osaka Japan.

Upon arriving in Osaka, I observed hundreds of bicycles that had either flimsy locks, or no locks at all to secure them. I surmised there was some sort of honor system in play, and decided to test it a little. The results were surprising to me.

Four signs were placed around the neighbourhood early one morning, asking residents to please not take the 1000 Yen bill attached to it.

Two of the signs remained untouched until I retrieved them late that night. One sign disappeared mid-afternoon, although it probably had something to do with it being posted on the city’s bulletin board without permission. The fourth sign disappeared late in the day, which still impressed me. It turns out it was taken by a random, concerned neighbour who wanted to safeguard it. She did some sleuthing, somehow correctly guessed the restaurant I would be visiting later that night, and returned it (along with the 1000 Yen of course) a few hours before I arrived.

Lee Walton

Momentary Performances

On his website, Lee Walton writes: “For Momentary Performances (2008-2010), I used vinyl text on city walls to announce ordinary moments that will take place. These texts are installed throughout the city weeks prior to each performance. Nearly 20 of these public works took place in Minnesota and Atlanta.

After acting out the script exactly on schedule, actors casually disappear into the city as if completely unaware of the descriptive text. Unexpected public is left to wonder about the reality of the serendipitous occurrence.”

Experiential Project:

The Experiential Project

Art in General, Project Space, 2005

These postcards became the access points for experiential interactions with shop owners, bars, barber shops, sandwich cafes, boxing clubs, and hidden city spaces. When a participant located the hidden starting point, an orchestrated experience unfolded. Participants become performers as more instructions and prompts are discovered embedded  throughout each journey.

CLUSTERFUCK ESTHETICS
“Lee Walton’s “Experimental Project” at Art in General is a sort of walking cacophony. It consists of a packet of cards, each with brief instructions that set you off on a situationist drift or do-it-yourself performance. A few weeks ago, one card sent you to a marvelous Asian store on Lafayette Street, where you were instructed to look “inside large music book on the top shelf.” A slip of paper then directed you to buy a lottery ticket and take it to a parking lot where you were sent to an OTB parlor and then led to a Chinese cardiologist and so on. This week’s instructions read, “Nancy Whiskey Pub. Lispenard at West Broadway. Inside pocket of red jacket.”

by Jerry Saltz

WRITE: Due in Wednesday’s class to present

Multiple by Maurizio Nanuci
Best known for his large neon installations, Italian artist Maurizio Nannucci has been producing artists’ books, records and multiples for over forty years. As a publisher, he has produced works by James Lee Byars, Fluxus, Michael Snow and many others From the artist books and multiples blogspot by DAVE DYMENT

You will be assigned one of the artists below. Post 2 examples (image and description) of great text based works – look for instructions, scores, prompts, advertised events, and multiples that use text in a conceptual way.

Describe the artist’s general approach in their broader practice, along with why you like the works selected – how do these objects work in the world? How is the artist’s use of language different from other forms of public text? How do they use materials, fonts, and other formal decisions to activate the text?

You will have 3-4 minutes MAX to present the two works to class.

Adrian Piper

Adam Chodzcho

Michael Drebert

George Brecht

Yoko Ono

David Horvitz

Jonathan Monk

Mendi and Kieth Obadike

Janice Kerbel

Erika Rothenberg

Scott King

Hiba Abdullah

Jenny Holzer

Miranda July

Fiona Banner

WEDNESDAY:

Give short presentations

Assign Text piece

ASSIGNMENT:

Instructions for the world:

Text based prompts, interventions, and multiples

DETAILS TBD in next class.

Make an artist multiple that centres text as a main element – the text should be employed conceptually – you may use it to:

-Give prompts, propose uncommon actions

-Provide instructions for absurd or unexpected things

-Trick the viewer in a pro-social way

-Make minor sentiments majorly declarative

-Document a banal, ephemeral thing in an important or permanent manner

-Play with an awareness of fonts, styles, and with text as a material, or an abstraction

– Subvert the intentions of found text

-Give voice in public to something not usually spoken in public

-Consider some of the strategies empoloyed by the artists discussed in class

etc…

You will be able to use 13×9″ high quality paper to make an edition or a series of postcards, a poster or other paper based ephemera. Nathan will complete the printing for you in studio – deadlines to be discussed in class.

Works must be properly finished to a professional level – and documented in an appropriate context to show the intended manner of circulation/presentation of the work.

You may also choose to make a T-shirt, hat, a magnet, a mug – or other printed ephemera that you will need to find and have printed on your own and in time – in order to document the work and present it in class for final critique.

NEXT WEEK MONDAY: Post a proposal drawing/ideas, we will discuss in class, along with a publishing/design demo

VIDEO ART ABOUT OUR PARENTS:

Adad Hannah

Dad and David Visiting

2010, Video, 7 min 22s. Edition of 5.

Dad and David Visiting was produced while my father and his boyfriend were visiting us from San Francisco. They were sleeping on a mattress on our floor. When I was walking past them one morning I realized the beauty of the scene and grabbed my camera.

From Adad Hannah’s website

Michele Pearson Clarke

“Parade of Champions” (2015) explores the grief experiences of three black queer people, following the deaths of their mothers. Although grief is borne from loss of any kind, for an adult child, a mother’s death is incomparable. As universal and inevitable as it might be, this suffering is complicated by the restriction on mourning in our culture. Grief upsets us. It makes us uncomfortable. The bereaved are expected to mourn in private or at the very most, publicly for a short period only. For black queers, already unseen and othered, grieving a mother’s death requires a further pushing back against notions of disposability and invisibility.

Drawing on my own experience after my mother’s death in 2011, Parade of Champions centres this black queer counter-narrative in creating a poetic encounter with loss. Employing still video portraits and audio interviews, this immersive three-channel installation invites viewers to bear witness to this black queer grief. From https://vimeo.com/148414120

Mom and Dad

Antoni MomDad.jpg
Mom and Dad, 1994, Silver dye bleach prints (triptych), 24 x 19 7/8′ each

“In Mom and Dad (1994), Antoni made up each of her parents in the guise of the other, photographing them together in three different permutations with either one or both of them costumed in this way.”

Momme

Janine-Antoni-Momme.jpg
Momme, 1995, C-print, 35 x 29 1/3′

“For the 1995 photograph Momme, Antoni hid under her mother’s dress, her own adult body bulging like a pregnant belly.”

Gillian Wearing: 2 into 1 LINK

The short video projection 2 into 1 (1997) features a mother and her two sons, one generation lip-synching the dubbed words of the other. It is hypnotically disturbing to watch a pair of 10-year-old twins take turns speaking their mother’s exasperated love for them. “I think Lawrence is absolutely adorable, he’s gorgeous, I love every inch of him,” Lawrence says, in a slightly raspy woman’s voice. “But he’s got a terrible temper.” Halfhearted affirmations of self-esteem also figure in the mother’s monologue, along with deep fatigue, all sounding precociously sympathetic–if not a touch demonic–coming from her children’s lips. Equally unnerving is the mother’s mimed recitation, heard in the soft, clear voices of clever preadolescent boys, of her sons’ accounts of her. We hear their criticism of her driving (“too slow”) and clothes (“she doesn’t dress too well”), and their complaint that she goes out to clubs too much (slightly disheveled and obviously anxious, she looks like she could use the break). For their part, the boys, baby-faced and natty but incipiently loutish, are hardly ingratiating. A dazzlingly deft expression of the complex pushes and pulls in the mother-son relationship, 2 into 1 is an even more concise articulation of the triangulated relationship between artist, subject and viewer. Treating emotional truth as if it were the coin under the three fast-shuffled cups of a sidewalk con artist, this video pictures the circulation of meaning as a kind of vaudeville act, fast, funny and a little cruel.

Basil AlZeri

Basil AlZeri is a Palestian artist based in Toronto working in performance, video, installation, food, and public art interventions/projects. His work is grounded in his practice as an art educator and community worker. He explores the intersections between the quotidian and art, and strives for interactions with the public, using social interactions and exchanges to create gestures of generosity.

AlZeri’s performance work has been shown across the Americas.

The Mobile Kitchen Lab

AlZeri Basil artinfo_mobilekitchenlab_01

With The Mobile Kitchen Lab (2010 – present), AlZeri performs simple and generous gestures, inviting his guests to identify the Palestinian stories of land, resources and labour that are built into his recipes.

Initiated in 2010, his durational performances feature live projected instructions provided by his mother, Suad, via Skype.

Hear a radio interview on the project here.

Patty Chang

2002.24_ph_web.jpgPatty Chang, In Love (2001) SEE VIDEO HERE

“Exploring the darker side of femininity and socially constructed notions of desire, Patty Chang often takes a corporeal, visceral approach to performance, an art form that underlies her work in video and photography. Like female pioneers of performance in the 1970s, such as Marina Abramovic, Eleanor Antin, and Hannah Wilke, Chang uses her body to address issues of the objectification of women and their representation in art history and popular culture. Chang’s work is often inflected with humor and often pushes commercial and popular female stereotypes to their extreme. In the photograph Melons(1998), for example, she uses cantaloupes as prosthetic breasts. How consumption and desire are inscribed upon the female body is addressed in Chang’s art, but equally so is a woman’s own desire of self.https://www.youtube.com/embed/P4HfEh-kT4c?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent

Much as Janine Antoni, Sally Mann, and Gillian Wearing have explored the sexuality and conflicts inherent to the parent-child relationship, Chang examines the territory of the primal, parental connection in her work In Love (2001). In this dual-channel video, two separate scenes of the artist with a parent are juxtaposed. Chang faces her mother and, in the adjacent frame, appears face–to–face with her father. Simultaneously both images show the artist’s and respective parent’s faces pressed together in what at first appears to be a deep kiss. Gradually it becomes evident that the video is running in reverse time, and that they share not a kiss but rather an onion from which they both eat. They bite into it slowly, pausing as they take turns offering it to each other, as if it suggests the proverbial, forbidden fruit. Parent and child swallow before they take additional bites, blinking hard to hold back tears from the onion’s sharpness and pungency. However, in the video’s reversal of time, the onion is reconstituted and the tears disappear—wholeness is thus regained.”

Text from the Guggenheim

Every five years, artist Ragnar Kjartansson asks his mother to spit on him for several minutes in front of a camera. The Icelandic mother and son here discuss the fascinating performance, which Kjartansson argues has become “like a part of our family life.”

In 2000, Kjartansson asked his mother if she wanted to spit on him for a video project, which she immediately accepted without any further need for convincing. While spitting, Guðrún Ásmundsdóttir, imagines that her son is one of the businessmen that got Iceland into the financial crash. “When I feel that spit it never feels violent or something, she is just helping her son to do an art piece” Ragnar says, and goes on, “There has always been a lot of friendship in our relationship.”

Kjartansson furthermore explains that both of his parents were “militant feminists”, and that there are feminist undercurrents in his work, such as the spitting echoing how women got ‘a voice’ and were able to ‘spit’: “Being raised by an actor, you start to understand these emotional tools that actors – and directors and people making theatre – use … they use humour and confrontation as tools in making a composition.” Always seeking not to be too literal in his art: “It just doesn’t turn me on.”

Ragnar Kjartansson (b. 1976) is an Icelandic artist, whose work ranges from paintings and drawings to videos, music and performance. 

See also Evergon:

Evergon

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EXHIBITION TEXT

In 1990, my younger, gay brother died of AIDS and other complications. In 1992, my Mother, Margaret Lunt, modelled as Ramba Mama in my work, Ramboys: A Bookless Novel. In 1993/4, because of her modeling and because of her relationship as my Mother, she participated in the TV special Evergon on Adrienne Clarkson Presents. Immediately after the viewing, my Father went on a tirade because photographs of my Mother’s bared breasts had been shown on television. She had not told him of the modeling session and he had not seen any of my exhibitions since 1976. Two days later, he was admitted to the hospital with a heart attack, brought on by anger and rage.

Three years ago, my Father died of cancer. In the Fall 2000, while driving Margaret to Montreal to be with me for two weeks, she suddenly stated: “You don’t photograph me nude anymore.” I had never photographed my Mother totally nude. So during that visit, we completed a ‘nude Margaret’ photographic shoot. These images of Margaret, started during that visit, have continued on each successive visit. She is well aware of the power that these nude photographs have. They profile her as a strong woman within her aging body. The mirroring image of myself has been a response to the images of my mother and to our relationship as the sole survivors of our family and mirroring compatriots. Although, I can see my behavioural and physical traits inherited from my Father, I see and feel many more traits from my Mother. Margaret is now eighty-two. I am fifty-five.

– Evergon

See also: Jim Verburg, and Sarah Polley in studio.

-ASSIGNMENT:

VIDEO ART: Your Parents

Maximum video length will be approximately 5 minutes/or looped. Can be longer – discuss with instructor.

Ideas and works will also be discussed in progress in class – see the class schedule

Consider your parents. You may choose to work with one or many of the individuals that are your parents. This does not have to literally be your mother or father – you may work with the idea of parents, with remembered parents, with other people’s parents, with dream parents. Interpret this theme as widely as needed. You may also be a parent – and want to explore what the role means to you – and work with your children. It’s up to you.

Who are your parents? What are the quirks that distinguish them? What is your relationship with them like? What are their relationships like with others? What are they into? Who were they in the past vs. the present? What are their strengths and their weaknesses? Do they understand what you do? Do you understand what they do? Think about what you want to discover, or bring out about your parents, and/or your relationships. Think about something really unlikely for your parents to do. How do the attributes and concerns about your parents reflect truths about you or your family, or about a wider world?

You may consider*:

Interviews

Voice-overs

Using still photographs

Truth vs Fiction

Documentary style observation

Use of sound/music/dancing

Taking your parents by surprise

Instructions for parents to perform

Task for you to perform with your parents

Performances by non-actors

Working remotely with parents

Absence of parents

Past vs. Present

Using found video/film/audio

Artists:

Michelle Pearson Clarke

Basil Alizeri

Janine Antoni

Gillian Wearing

Jim Verburg

Lyla Rye

Evergon

Sarah Polley

Patty Chang

Aleesa Cohene

Steve Reinke

Aislinn Thomas

Mona Hatoum

Lee Walton

Rajnar Kartansson

Adad Hannah

Sheilagh Restack

Lenka Clayton

*Reminder: Always create works that are safe and respectful for you and others at all times. Discuss your ideas with the instructor.

Student works on the theme:

What Would Your Life Be Like Without Me?

These are stills from a video of my parents describing the lives they could of had, if they remained childless. C. Wisdom 2019

Icing a Cake for My Father, Sydney Coles

For Lack of a Better Word… White.

This is a still from a video of my parents. I asked them about their experiences with race and prejudices. The video aimed to highlight their contrasting experiences, however the results showed some endearing similarities and how their relationship has altered and shed light on their individual experiences.

Two Into One is a video that borrows the lip synching strategy from Gillian Wearing’s original video of the same name. I filmed my parents one Saturday morning for as long as they would let me. As I continued to antagonize them they became more and more self conscious. I later dressed in quick drag and lip synched to their complaints and concerns regarding the camera to create an abject and heightened reality of their own fears of being shown “not at their best”. Emily Reimer

To Look At Your Face and See Myself, 2022 – Claire Wright
Julianna Wright, 2022 – An Interview With Myself

Discussing Abstract Art

My parents were pulled away from their regular evening activities and sat down individually to discuss my most recent series of abstract paintings. They weren’t told to analyze them or criticize them, they were just told to talk about them. They also weren’t shown or told what the other had already said. This video reflects not only their relationship to me as their daughter and the art I produce, but also to how they go about viewing art in their own separate ways. Rachel V.

Aislinn Thomas, Food Portraits
Jim Verburg, For a Relationship

My video is composed of cut together clips of my mom and my dad each describing where they want to be buried. I chose this because I know they each have very specific spots, and have had them for a long time, which have a lot of family history tied to them. My mom, coming from Quebec and my dad, coming from Saskatchewan, both have multigenerational Canadian families, and then they met in the middle and had me. My sister and I were both born in Manitoba and now live here, so even though my parents both have such strong connections to these places, I don’t have any of the generational ties and memories that they have. It’s interesting to see how, although they’re married and have their own children in central Canada, they still have a connection to their hometowns, which leaves my sister and I in the middle to eventually chose our own plots. I thought this would be a neat way of getting them to explain a bit about their families without asking for a direct description. I even filmed the video on their dining room table, which has fittingly been passed down a couple generations and was made by a relative from my mom’s side.

Here are the separate, uncut videos of my mom and my dad’s maps and descriptions:

Anastasia Flynn, 2022

Week 3

Summary of work this week:

1.Discuss final works in progress for text multiple

  1. Demo photographing works with mobile phone cameras

WORKS MUST BE SUBMITTED FOR PRINT BY THE END OF THE DAY

TOMORROW – to be ready for documentation and critique next week on Wednesday!

  1. Parents Video lecture and assignment
https://www.sbs.com.au/news/washington-dc-mayor-emblazons-black-lives-matter-on-road-near-white-house

VIDEO ART ABOUT OUR PARENTS: LECTURE AND ASSIGNMENT

Hannah’s Work

WEEK 12

I decided to create two tattoo designs for this project. The first is press here. This tattoo was originally meant for the eyelids but works well in many locations. It invites action, whether that be a positive or negative action toward the one tattooed with it. The second tattoo is the missing poster. This tattoo features a picture of me when i was 14 years old. it was taken the year before i really started to struggle with borderline personality disorder. In the year following, i faced an episode that led me to run away from my home for a short while. This is something in my life i have always carried a great deal of shame towards, both my disorder and the situation i’m speaking of. i wanted to create this tattoo in an attempt to heal that little girl. To let her know that what happened is okay and that she is not inherently bad for mistakes she has made while struggling so deeply. I want to start a conversation surrounding borderline personality disorder. I want to speak and educate ones who aren’t aware of bpd about the intense emotions, mood swings, impulsive and self destructive behaviour and many other facets of life with bpd. It is a conversation that is more than worth having to understand these things and to destigmatize mental illnesses. This tattoo was very overwhelming for me to wear, it connected me to apart of myself that felt extremely lost.

WEEK 11

notes

WEEK 10

for my final video, I wanted to focus on the idea of a day in the life vlog. Although I wanted to track my daily life, I wanted to do so in a way that highlighted my own experience with technology and social media. I do not believe that people are meant to be accessible to other people 24 hours a day. With technology and our smart phones on us at all times, we tend to make ourselves there whenever anyone feels they need something or want to speak with us. There are societal expectations surrounding this and we feel as if we are not placing enough effort into our relationships or online personas if we do not respond or repost or make ourselves readily available at all times. if We are meant to have time to sit with ourselves away from our screens, to connect with the earth and the world around us and other people in real time face to face. I chose to use images of nature because I view it as the complete opposite of the technological world. It is also a true saving grace to me in many ways, one being when technology and the online version of me becomes to much, when I need to sit with the physical version of myself and understand my thoughts, my emotions and my being. The actions I chose to take are ones of me connection with nature in ways that are absurd, they are private actions and ones I would never share online to a social media platform. They accurately show my own digestion of a day in my life, connected to nature and afraid of the walls i’ve placed surrounding my self feeling the paradoxical need to be online, post and text while vehemently craving the opposite, natural connection and no technology clouding my being.

WEEK 7

notes

WEEK 5

For my final parents video, I decided to go with wrapping my umbilical cord like a necklace. I want to focus on the disconnect I feel surrounding an object that is so intrinsically connecting. In polish culture, a parent must keep their child’s umbilical cord or their child will be unsuccessful in all forms of life. I thought that using this would be interesting as it is truly a part of both my mother and I, neither of us really has any more claim over than the other does. In saying that, it symbolizes very different things for both of us. My mother used to love to wrap sea glass with craft wire. I used the same technique in wrapping my umbilical cord. I chose to have the unboxing and repacking of my baby items as the repetitive action and task based work reminds me of a parent completing tasks or packing a box with special things of you child’s. I also think it is necessary for the context of the video. I wanted the video to have fast cuts to signify this disconnect, to have the viewer jarred and acquainted with sharp cuts. I used an incandescent white balance while filming to make it look cold, distant, removed and sterile. Something I really struggled with is the audio. I tried many different forms of audio such as ambient noise, my mother reading the note that is in the box, breathing, end based text with a short phrase about connection but none of them felt right. I wanted the video to be very quiet in action so I decided to quiet the audio to make it match that. I found this video very emotionally draining but emotionally healing to make.

WEEK 3

notes

For my warning labels, I decided that I would focus more on the idea of wacky labels. The kind of warning label where you read it and think “woah someone actually had to do that to warrant a label”. I felt that stickers were the best format as they are easily moved around the world and placed in spaces that are commonly acquainted with the public. I chose to pair down the phrases to two “drinking pickle juice may cause harm” and “romanticizing apple sauce may cause harm”. I struggled with ideas of places to put these stickers as to put them in a traditional warning labels sense (ie on a windex bottle) would not be a place where my multiple could be seen by many. I decided to go for a walk and put up some stickers in places that felt right. I walked on Gordon street which is very busy so I know the ones posted there will be seen by many. I decided to place them in spaces completed unrelated to the content and in spaces warning labels wouldn’t usually be. This adds to the bizarre aspects of the viewers encounter with the label. Not only is it something they won’t understand and will wonder about, They will wonder why it is on the bus or a garbage can.

WEEK 2

When thinking about text work, i immediately thought of warning labels. I spoke with some classmates about the idea and thought of some bizarre warning labels, ones you know someone out there had to experience to warrant a label. I was thinking of content to produce these labels when i started thinking about intrusive thoughts. Intrusive thoughts at some points plague my brain and some thoughts can be harmful, even just to your mental health. I wanted to stick with the bizarre nature of wild warning labels though so I focused on some of these thoughts that were over on the bizarre end. These images of drawn warning labels include some intrusive thoughts and some absurd sentiments.

I am struggling to decide what kind of multiple I would produce these as. I was thinking stickers or posters. with stickers i think i would have to narrow down the number of varying designs. These are just some tests though so I wouldn’t be opposed to choosing 2-3 of them for stickers. I like the idea of stickers because you could place them on physical items as if the warning label was for that product. I think that posters could be interesting as well, printed fairly large.

WEEK 1

notes

Jenny Holzer is a text based artist who uses text on a public scale to urge a response from the viewer. He uses short, often provacative phrases to spark conversation and reaction. She focuses on themes of consumption, abuse, power, social structure and control. I am interested in Holzer’s work because of the feeling that is seeped into it. Her text packs a real punch of emotion and thought extremely successfully.

Holzer’s most well known work is her 1978-87 list of truisms. This piece is framed very interestingly because of the definition of truism. A truism is defined as a statement that is obviously true and says nothing new or interesting. Yet, Holzer’s phrases can be seen more as hard truths for some with different thought patterns. She uses this framework to enforce the idea that the ridiculousness that these phrases are not true to some people or society. The language she uses is simple and easily readable so it can be digested by many people. It is also featured in many different ways. She has shown this work through lists, t-shirts, billboards, large scale projection and installation, posters and other formats. Her work speaks on mass production and consumption as her use of simple text can and has been reproduced many times in many ways. An example of a truism in the list is “abuse of power comes as no surprise”. When acquainted with this phrase, knowing Holzer views it as truism, people are met with a feeling of discomfort. This is because it is a hard truth, people trust in their authority figures and government and hope or even in many cases turn a blind eye to their abuse of power. Holzer’s phrasing urges you to think critically about the structures surrounding you.

Another work is an essay from her 1979-81 series inflammatory essays. These essays were mass produced and scattered across city streets. This essay is printed on light pink paper, a colour associated with softness, tenderness, love and kindness. The words however, say something very different. It is a tale of destruction, of anger and hatred. It shows the narrative of a tenacious underdog, coming to take out the front runner after what feels like years of emotional build up. Although we do not know who the message is coming from and who is it is being delivered to, it feels very personal. The first two lines are “don’t talk down to me, don’t be polite to me”. I find this contradiction of phrasing very interesting as the first sentence is the only one Holzer writes that suggests some sort of retaliation. it then becomes quite aggressive with her saying “I’ll cut the smile off your face”. This rage and hatred is passionate. The final two lines are “The games almost over so it’s time you acknowledge me. do you want to fall not ever knowing who took you?” These lines make the piece more ambiguous. It is believed that Holzer is physically communicating with someone in the first few lines but these lines make that connection and speech more removed. It’s almost as if its a diary of a destructive thought pattern.

I believe that the real joy of viewing Holzer’s work is the feeling you experience from it. Although the narrator is removed and we are left with simple text on simple background, you can feel the emotion seeping through the production. The person speaking is removed yet enveloping you with word and thought. You can feel that they are enraged and want to push away from the mal things they experience.

Madiha’s Work

Tattoos

Although I had a lot of trouble deciding on a tattoo, I really enjoyed this assignment. After a lot of experimenting, I decided to do a skeleton walking animation tattoo. It is 10 frames of a skeleton. I thought it would be interesting to put a GIF of all the tattoos together at the end to show an animation.

I also ended up printing out some eyes that I drew as well (forgot to take a picture of them printed out)

Video Art Presentation

Oblivion NPC videos

The videos originate from the game oblivion, which is known to have awkward and unpredictable NPC interactions, often due to glitches, as well as amusing dialogue and voice acting: 

Oblivion NPC memes usually take a short out of context clip and overlay music from the game oblivion onto it. When the person in the video becomes aggressive, the audio usually switches from peaceful music to combat music. Almost every video I’ve seen is shot on a phone of random strangers in public, usually having an unreasonable altercation. There usually isn’t any visual editing, although I’ve seen some videos where a health bar or subtitles are added.  

I personally haven’t played oblivion, but I know people that have seen these videos have commented on how they are nostalgic. I find these videos hilarious, and especially love the ones that properly switch between the music to fit the things that are happening in the video. 



Parents Video

I spent a lot of time trying to think of something that my mom identifies with and is passionate about. I walked around the house looking for inspiration, and searched through old photo albums. Looking through drawers of her old clothes that she had brought from India (and then never got a chance to wear) I found these tiny knitted sweaters. I asked my mom about one and she spontaneously started telling me its story. She talked about how she dressed me in a full pink wool set she knitted herself when she took me to India to see her family. Her brothers called over their neighbors to show them what I was wearing, thinking it was an expensive set she bought. I asked her if she could tell me the rest for a video.

She said that there were a lot more things she had knitted, but had given them away or lost them, which she really regrets.  The ones in this video are the clothes she loved the most and had to keep, except for these socks which were lost.

Before filming, I tried different poses – sitting on a chair or on the couch, standing, and sitting on the floor. In the end I decided that sitting on the rug would be best; it reminds me of old home videos (for example those videos of everyone opening their Christmas presents on the floor, or someone going through forgotten stuff in their grandma’s attic). I did not want to film more than once because I felt that the memories my mom was telling would become more rehearsed/less natural. This is also why I wanted my mom to be able to speak Urdu. I wrote subtitles for the video, although I am debating whether to add them to the video or not. I primarily wanted her passion, love, and longing for the days she used to knit to be in focus, and I feel that adding subtitles might be distracting. However, I do realize that it is difficult to personalize this video when you can’t see facial expressions, which might eliminate my reason for not adding subtitles. Other than this, the video has minimal editing. I struggled with this, because I did want to edit it, but I preferred this format of raw footage.

After a while, I became increasingly unsatisfied with this work. It seemed fairly plain and did not convey the feelings that I wanted it to. I was tremendously inspired by the aesthetics of the works of others in the class, and came up with another idea. I remembered part of a conversation I had with my mom after filming the previous video:

Mom: I really miss knitting…it’s so sad that we lose our talents and enthusiasm as we become old.

Me: Why don’t you knit anymore? You should.

Mom: I’ve forgotten how…I would never be able to make something like this again

So I asked my mom to try to knit, and I would record one take of it, however it came out:

I couldn’t decide whether to use the voiceover from the first video as background noise, or just keep the natural sounds of the knitting needles, but I decided that using the voiceover would better transmit the emotion of regret of losing her eagerness to create art. When she came to Canada, she gradually stopped doing things for her own enjoyment. I find it incredibly painful that she is so talented but can’t express it after becoming a mother and taking on all the responsibilities that she did. She used to sing very well, and sew and paint. All of it stopped in time, and now she doesn’t do anything fun for herself. I like that this video portrays how she is struggling to do what she once used to do so easily, but after some practice, she could gain her skills back.

Other ideas:

-collection of cartoon representations of parental figures (cartoons that show depiction of the perfect parents/what every young child thinks their parents are vs the contrast of the imperfection of reality)

-Driving- dad taught me driving/still takes me out to teach things/practice – wanted to record footage of it but winter

-Mom is always trying to teach me how to cook and bake

-Wear mom’s wedding clothes, and match to wedding photos

-Sound of footsteps: was thinking of how I can recognize my parents’ footsteps

-Footage of my dad driving a car vs my mom driving, and then me and my brother driving (how parents affected our driving style)



Multiples

From the examples of multiples shown in classes, I really liked Please Don’t Take This 1000 Yen by Jon Sasaki. I was intrigued by the idea of leaving something out in public where it is so easy to steal without consequences. No one stole his money, so I tried to think of something even easier to “steal” such as information.

Classified documents

  • Folders/papers that say classified on them
  • Lots of random text inside (text that is hard to read: unreadable font/colour/ different language)
  • If you have found this message, contact …
  • If you are reading this, contact …
  • Next page “why are you reading this”
  • font gets smaller every page

For this idea, I was thinking of movie scenes where someone leaves top secret information for their partner on a public bench, and the person who is supposed to receive it always does. I wondered what would happen if someone else picked it up instead.

I created a page that looks official, but it is also very vague and doesn’t name any actual agencies. I decided to fill the page with text that prompts the reader to stop reading. The idea is they will keep reading until they reach the bottom, where it acknowledges that the document is not real. I attempted to keep the text short enough that someone wouldn’t lose interest or catch on to what the document really was, but also long enough for the reader to feel a little mislead once they reached the end.

The text on the documents was initially inspired by the text at the bottom of an email I received:

“CONFIDENTIALITY NOTICE: The contents of this email message and any attachments are intended solely for the addressee(s) and may contain confidential and/or privileged information and may be legally protected from disclosure. If you are not the intended recipient of this message or their agent, or if this message has been addressed to you in error, please immediately alert the sender by reply email and then delete this message and any attachments. If you are not the intended recipient, you are hereby notified that any use, dissemination, copying, or storage of this message or its attachments is strictly prohibited”

The way I designed the page was inspired by documents similar to these, as well as the folders used in movies that say “Classified”, etc. with a very large, obvious font. I also used various images of actual declassified documents for reference. I wrote with the courier font that is commonly seen in these documents.

Example images

I also experimented with different watermarks: Classified, Top Secret, and Confidential. I thought it was interesting how “classified and “confidential” sounded more believable than “top secret”, which sounds more like it’s from a kids movie, and if people would react differently to these documents in the real world.

I initially wanted to leave contact information within the text at the bottom of the page to see how many people would read that far, but decided against it.

This is the text written in the document:

This document and its contents are the property of a classified government agency. 

If you are not the intended recipient of this document or their agent, or if you have come across this document  in error, please do not read. 

If you are not the intended recipient, you are hereby notified that any use, dissemination, copying, or storage of this document is strictly prohibited.

Destroy this document. Failure to follow these instructions is a federal crime, and will be prosecuted at the discretion of this organization.

  1. The contents of this document are not intended for you to read. Please stop immediately.
  1. The contents of this document are of no interest or relevance to you, continuing to read will bring only negative consequences.
  1. Why are you still reading this? You have been instructed repeatedly to stop reading. For your own safety, destroy this document.
  1. You have failed to follow every instruction given so far. Each line you read will result in further legal ramifications.
  1. You are in the process of committing a federal crime. This is your final warning.

[This document contains no sensitive information]”

I left the pages in various public places:

Other ideas…

Rorschach tests

  • But backwards
  • I offer text of lots of peoples responses, and people have to think of the image.
  • matching? different cards?

I thought it would be interesting to see what people thought of when doing Rorschach inkblot tests backwards and if they would still see the same things. When I did research on these, there weren’t as many official tests as I had originally thought there would be. There were 4-5 images and all of these had very similar answers from people.



Yoko Ono

Grapefruit

In her book Grapefruit, Yoko Ono provides her audience with seemingly random instructions, ranging from vague commands to absurdly specific directions. It is mainly presented as a text based work in a book, but Ono has also offered a performance video of her reading through the book. 

I loved how unpredictable every line was. Each instruction contains something different, and makes the audience anticipate what’s coming. The instructions go from simple to almost impossible, becoming conceptual in some ways, yet staying engaging the whole time.

I particularly found Tuna Fish Sandwich very amusing, as the line it ends on is absurd and sudden, suddenly changing topics and switching the entire mood of the passage.

Wish Tree

Wish Tree is a collection of written wishes provided by the public displayed hanging from a tree. Ono shares a related backstory to this, where as a child in Japan, she would write her wishes on a piece of paper and tie it onto the trees of the temple’s courtyard, because the wish knots people would tie on the trees would look like flowers. Yoko Ono has ensured participants that she does not read any of the wishes. The tree exhibits more permanence than a wishing well, as people’s wishes are written down, and, although they are not read by anyone once they are tied onto the tree, they still remain in an easily accessible state.

Week 2

MONDAY:

Discuss proposals posted on the blog for Text multiples

Demo on design and publishing with Nathan (30 minutes)

Yoko Ono WAR IS OVER!, 2008-2009 IMAGINE PEACE in 24 languages Holiday Billboards Times Square, New York, NY Photo by: Karla Merrifield © Yoko Ono

WEDNESDAY:

Look at work in progress, designs together

Troubleshoot technical stuff with Nathan

Finished designs must be sent to print professionally by this weekend, or to Nathan by Sunday night!

Week 1

  • SUMMARY OF WEEK ONE WORK:
  • Participate in introductions and course information, demo of WordPress in class
  • Listen to short lecture on artist multiples.
  • TO DO: A short post on one artist from the list will be due for a 3 minute presentation on WEDNESDAY of this week.
  • A new work of text-based multiple will be assigned, due for final critique in Week 4. Details to be provided.

MONDAY

Welcome back to school everyone, I’m very happy to have a way to come together to learn about contemporary experimental art practices. During the pandemic, we will engage in weekly exercises, demos, readings and videos to learn some of the historic, theoretical, and technical aspects of working in experimental media forms.

Our virtual course will emphasize ideas, research, regular exercises and practices, and we will work on developing resolved artworks.

Students will perform and create studio exercises at home and in the world – within strict adherence to public health guidelines at all times – using materials and situations at hand. Together we will practice being resourceful and creative within the limits of any given situation. We will explore how to be an artist now – using aspects of performance, snapshot photography, video, audio, and artist multiples – in this unique and challenging historical moment.

Every week we will have Monday and Wednesday class meetings – and then you will do the week’s homework (things to read, write and create) posted under Weekly Assignments.

Due dates are shared on the Weekly assignment pages, and on the tentative schedule found here:

You will need approximately 4-6 hours to complete your work for this course every week in addition to class meeting time.

Schedule your work and you will be able to keep up with your assignments!

All your notes, images and videos must be on the class BLOG – under your name. 

ONLY edit your own page – do not edit anything else on the blog.

I will periodically read and evaluate your work on the BLOG and we will look at examples of works by students together in our class ZOOM.

See course information, and evaluation for details.

Lecture:

Instructions for the world:

Text based prompts, interventions, and multiples

Jon Sasaki

Napkins (Materials Safety Data Sheet)

2011, Multiple, paper serviettes printed with one of three colours of ink. 5″ x 5″

43_napkin-blue
43_napkin-yellow
43_napkin-red

A Clock Set to 24 Hours Into The Future

2014-2015, public artwork for Sheridan College’s Temporary Contemporary, Trafalgar Campus, Oakville Ontario.

“Unlike most campus clocks, this one has been set 24 hours fast, always displaying “tomorrow’s time.” Of course, on a four-numeral digital clock, tomorrow’s time appears indistinguishable from “today’s time,” and therein lies a small bit of levity that is intended to open up a range of poetic interpretations.”

“A clock tower running 24 hours fast is in fact practical and functional in the present, but serves also as an aspirational signpost pointing towards the idea of tomorrow.” From his site Jon Sasaki

63_clock2
63_clock5

(the accompanying didactic panel)

An Obsolete Calendar Towel Embroidered with an Identical, Future Calendar Year,
1970/2065, 1982/2049, 1976/2032 and 1969/2042

2012, ongoing, embroidered found vintage textiles, each approx. 17″ x 28″.

In an ongoing series, obsolete calendar towels have been embroidered with the date of an identical, future calendar year. Beyond giving the discarded object a renewed relevance, it proposes a disturbingly banal vision of the future… that decades from now we will still be pining for some vague 19th century inspired nostalgia… covered bridges, copper kettles, cast iron stoves and millponds… images that were anachronistic wishful fictions even at the time the calendars were first printed.From his site Jon Sasaki

Please Don’t Take This 1000 Yen

2013, intervention in the neighbourhood of Konohana, Osaka Japan.

Upon arriving in Osaka, I observed hundreds of bicycles that had either flimsy locks, or no locks at all to secure them. I surmised there was some sort of honor system in play, and decided to test it a little. The results were surprising to me.

Four signs were placed around the neighbourhood early one morning, asking residents to please not take the 1000 Yen bill attached to it.

Two of the signs remained untouched until I retrieved them late that night. One sign disappeared mid-afternoon, although it probably had something to do with it being posted on the city’s bulletin board without permission. The fourth sign disappeared late in the day, which still impressed me. It turns out it was taken by a random, concerned neighbour who wanted to safeguard it. She did some sleuthing, somehow correctly guessed the restaurant I would be visiting later that night, and returned it (along with the 1000 Yen of course) a few hours before I arrived.

Lee Walton

Momentary Performances

On his website, Lee Walton writes: “For Momentary Performances (2008-2010), I used vinyl text on city walls to announce ordinary moments that will take place. These texts are installed throughout the city weeks prior to each performance. Nearly 20 of these public works took place in Minnesota and Atlanta.

After acting out the script exactly on schedule, actors casually disappear into the city as if completely unaware of the descriptive text. Unexpected public is left to wonder about the reality of the serendipitous occurrence.”

Experiential Project:

The Experiential Project

Art in General, Project Space, 2005

These postcards became the access points for experiential interactions with shop owners, bars, barber shops, sandwich cafes, boxing clubs, and hidden city spaces. When a participant located the hidden starting point, an orchestrated experience unfolded. Participants become performers as more instructions and prompts are discovered embedded  throughout each journey.

CLUSTERFUCK ESTHETICS
“Lee Walton’s “Experimental Project” at Art in General is a sort of walking cacophony. It consists of a packet of cards, each with brief instructions that set you off on a situationist drift or do-it-yourself performance. A few weeks ago, one card sent you to a marvelous Asian store on Lafayette Street, where you were instructed to look “inside large music book on the top shelf.” A slip of paper then directed you to buy a lottery ticket and take it to a parking lot where you were sent to an OTB parlor and then led to a Chinese cardiologist and so on. This week’s instructions read, “Nancy Whiskey Pub. Lispenard at West Broadway. Inside pocket of red jacket.”

by Jerry Saltz

WRITE: Due in Wednesday’s class to present

Multiple by Maurizio Nanuci

You will be assigned one of the artists below. Post 2 examples (image and description) of great text based works – look for instructions, scores, prompts, advertised events, and multiples that use text in a conceptual way.

Describe the artist’s general approach in their broader practice, along with why you like the works selected – how do these objects work in the world? How is the artist’s use of language different from other forms of public text? How do they use materials, fonts, and other formal decisions to activate the text?

You will have 3-4 minutes MAX to present the two works to class.

Adrian Piper

Adam Chodzcho

Michael Drebert

George Brecht

Yoko Ono

David Horvitz

Jonathan Monk

Mendi and Kieth Obadike

Janice Kerbel

Erika Rothenberg

Scott King

Hiba Abdullah

Jenny Holzer

Miranda July

Fiona Banner

WEDNESDAY:

Give short presentations

Assign Text piece

ASSIGNMENT:

Instructions for the world:

Text based prompts, interventions, and multiples

DETAILS TBD in next class.

Make an artist multiple that centres text as a main element – the text should be employed conceptually – you may use it to:

-Give prompts, propose uncommon actions

-Provide instructions for absurd or unexpected things

-Trick the viewer in a pro-social way

-Make minor sentiments majorly declarative

-Document a banal, ephemeral thing in an important or permanent manner

-Play with an awareness of fonts, styles, and with text as a material, or an abstraction

– Subvert the intentions of found text

-Give voice in public to something not usually spoken in public

-Consider some of the strategies empoloyed by the artists discussed in class

etc…

You will be able to use 13×9″ high quality paper to make an edition or a series of postcards, a poster or other paper based ephemera. Nathan will complete the printing for you in studio – deadlines to be discussed in class.

Works must be properly finished to a professional level – and documented in an appropriate context to show the intended manner of circulation/presentation of the work.

You may also choose to make a T-shirt, hat, a magnet, a mug – or other printed ephemera that you will need to find and have printed on your own and in time – in order to document the work and present it in class for final critique.

NEXT WEEK MONDAY: Post a proposal drawing/ideas, we will discuss in class, along with a publishing/design demo

Deadline for finished files to be sent to Nathan (or elsewhere) to print: Week 3 Friday Jan. 28

Final critique: Week 4 Wed. Feb. 2

Melyssa’s Work

Artist Multiples

Janice Kerbel

Janice Kerbel | Turner Prize Nominee 2015 | TateShots - YouTube
Janice Kerbel

Janice Kerbel is a British Artist born in 1969. She works with a range of material that including print, type, audio recording as well as the recent playing of light . Her work includes existing languages from a wide range of disciplines and re-imaging them. Her practice tries to imagine and develop new forms, which can be seen through many of her art pieces that including on her silkscreen prints on paper.

Janice Kerbel, Score, ‘Fall’

Janice Kerbel, Score, ‘Fall’, 2015, 10 silkscreen prints on paper, composition: 108 x 66 in. (273 x 167 cm), each sheet: 22 x 33 in. (56 x 84 cm)  
Janice Kerbel, Score, ‘Fall’, 2015, 10 silkscreen prints on paper, 108 x 66 in. (273 x 167 cm)

Janice Kerbel, Score, ‘Crash’ 

Janice Kerbel, Score, ‘Crash’, 2015, 3 silkscreen prints on paper, composition: 22 x 131 in. (56 x 334 cm), each sheet: 22 x 33 in. (56 x 84 cm)  
Janice Kerbel, Score, ‘Crash’ (detail), 2015, 3 silkscreen prints on paper, composition: 22 x 131 in

Why I choose these pieces …

I choose both silkscreen pieces that having Janice’s practice in developing new forms. The first piece I choose was “Score, ‘Fall’, 2015, 10 silkscreen prints on paper” where she split up her work into different pieces, but still continuing onto the next pages forming a motion or even showing a wave of words giving the piece movement implying a “fall” like its very name. The piece moves heavily from the top being more condensed then moves more openly when at the bottom where the words are more scattered. Having such words like “HEAD”, “PLUNGE”, MET”, “SHARP”, “snaps”, “BIRD” and other suffixes like “ing” almost adding to some words creating new ones like a scrabble game, such as “BIRD” and “ing” being close to one another making a new word, “Bing”. In a conceptual way, as the concept is more important than the execution, where Kerbel uses words and motion to convey this image of new form of a fall. The second piece I choose also shared the same concept of movement and also included letters, similar to the other piece I’ve chosen. Having the name “Crash” where her letters are formed into a visual image. The letters build up then crash by the end. This act of a crash shows her theme of “new forms” and the act of movement.

I choose these 2 pieces because It looks like inking or just printmaking that I thought was cool and the chaos of letters in an organized manner just jumped out to me as everything is so clean and well put together and that each individual letter can be a all put together as a multiple. These objects work in the world because we, as humans, are more advanced and now type more rather than hand write our work, so her piece just fits into today’s society era of technology. The artist use of language is different because she doesn’t form any sentences, rather she just makes it into a movement through words and letters like suffixes. The uses of font is vast by the different sized fonts in both pieces as well as the uses of caps where she makes some words in all caps. This usage of font activates the texts by creating a use of space in her piece that eventually lead to her meaning on movement and “new” form.

How the Art is made

janice kerbel’s works

https://catrionajeffries.com/artists/janice-kerbel/works

https://www.gold.ac.uk/art/staff/kerbel-janice/

Project 1: Multiple Assignment

For my love of penguins and a sassy mood…

I’m incredibly interested in line art and inking, it can be a fast medium and can also be something done with care. I’m more interested in telling almost a story, through a mood and words. I wanted to show an animal I like, but with personality shown. My proposal is to make an angry post card that contradicts a normal welcoming card to have a little bit of ‘play’ into the act of welcoming. The words come through as the penguins thoughts, to show his angry mood that opposes the welcoming notation. I was also considering a poster multiple, or even changing up the words to have more script wise sentences. As for most of these outcomes, my favorite one is the one with blue fonted sentences as its not Grammarly correct and more angry but also cute.

Sentences

“Cringe cringe cringe…”

“Ughhhhhhhhhhhhh…”

“Stupid hoomanz such stupid man no wings means stupid hoomanz”

“Wow thats so wildd wow thats so crazy wow thats so cool wow thats gnarly”

Penguin Thumbnails

I’ve also been thinking about making more penguins to create a vast of the postcards, and to convey different moods, but still having multiples of this same ‘angry tension’. I lean more towards the comedic affect, where I bring a portrait-viewed figure to life.

Changing up the penguin

I decided to change up my idea, into a more minimal art work with Diane’s help. I went back to the bases where my ideas were a bit sad and changed it into more of a comedic poster. With emojis I added a twist of letters and words that are almost mean and turned them into something more sassy rather than sad. Then, I started playing around with different ways to look at the letters on a poster.

Thought Process

I leaned towards emojis and the play emojis have to make things more light hearted. Below, I just started playing around with the text and words to see how it would look. I enjoy the sass there is found through words that creates humour and I moved away from penguins and illustrations towards just words. I didn’t like the curse words a lot, because without the cartoon figure it comes off as offensive and angry. I just want to keep this sassy humour while still giving an un-welcoming feel.

The sassy “K” was the most simplistic version of all my designs that didn’t include any characters. I started adding little details to try and make the piece a bit more pleasant to look at with the grey boarders, but I just discarded that design and changed it into a simpler, format with a pink background. I still don’t know if the pink background is necessary, but it leaves this nice sassy undertone.

Playing with words

I was thinking about creating posters, I’m not sure about the consistency seen throughout the pieces. So instead, I wanted to create 4 posters with various letters so that I have unique and different multiples. I might try to find more ways to incorporate letters, but so far, I came up with these few letters below.

Final print Ideas

I changed the final postcards into simplified letters and words, and added one different font colour, which was a toned, darkened red to add a bit of urgency to the cards or a bit of a pop to have a mild uniqueness kind of like a business card. To keep the cards from having this boring consistency, I printed in some slangs and kept the consistent colour of black and sometimes mixed in the darkened, toned red to add variety. Over all, I mostly printed the letter “K.” with addition to “.” which added the intensity to the cards attitude.

The process of mailing is simple, although when it comes to the letter “k.” you would have to wait for someone to email you or send you a response before replying with “k.” Other post cards can be sent just openly because of its vagueness such as “mid.” I also messed up quite a few…

The cutting process…

Mailing process…

This is to my sister, I just purchased the post cards then added the name, address, postal code and city then province. These cards are really meant to be just a reply to someone rather than gifted to them, but could also be sent spontaneously for joking reasons or even urgent reasons where your mad at someone.

Parents Assessment video

Parent assignment: video art involved with your parents/ renters

Idea 1: Closeness 

  • Being far, makes things different
  • The sense of things doesn’t smell like home. The comfort of my own house smell makes me miss my house.
  • Smell. 
  • Stuffed animals, shows thoe closeness through objects.
  • Does Not have to include parents, use objects.
  • Cheese, febreeze. Cheese in the bedroom. Taking the cheese with you to take the smell. A candle. Could be a candle. 
  • How to run with it: Closeness, clinging together. And bringing the object around with me in the places I go. 

Idea 2: Phone texts

  • How to keep in contact. 
  • I call them when my stomach hurts. I called my sister when bad things happened as well. 
  • Connections/How I show I’m okay
  • With my sister I keep in contact with her through memes.

My family is generally close, we share a lot of things and I’d say I’m very sheltered. The idea of being at home, having the comfort of animals and regular noises seen throughout varies family members helps clutter the quiet out. Usually with many animals in the house I’d hear hear pitter-patters of their nails and feet walking across the wooden tiles. When I moved to the rent, all the noise stopped, there wasn’t any animal noises, or a lot of smoothing noises around me anymore, so I wanted to make a video on my surroundings as well as the smells seen throughout my house as it usually fades away after a few day’s and nights at my rent. People would except renting to be some sort of freedom from your parents but they didn’t say how quiet it was and how scents disappear. It’s astonishing to think that little things like noise, sound and smell could affect someone and the way they live, maybe it is a part of growing up to loose something for at least the littlest while.

For the video, I wanted to video tape parts of my house or things that create what I see, smell and hear as a comfort. Usually the smells are just strong fragrances of simple house cleaners and lotions. My house also has this distinct smell of animals so that’s why we cover it up with other odors and cleaners. My room is the biggest factor of comfort, but also, I used varies objects to help form this sense of a visual play on what certain objects can make us feel. That being my house reminding me of my parents, a physical home and a smell of them makes me think of them and miss them.

Amazon.com: Wooden Sign/No House Is Complete Without the Pitter Patter of Kitty  Feet/Sage Green Wood Sign : Home & Kitchen

Process work

In the process I incorporated video of fragrances that most remind me of my house’s smell, that also being, the smell of animals. I tried to delicately snip and repeat a few videos and images that have a meaning for home, that including the origami being a gift to me from my mom’s friend when I was in grade 6. I kept it for so long because people don’t ever hand make me gifts, especially when I was younger and this gift reminds me of a sense of care, but also has this contrast of emptiness because of the apparat amount of negative space with addition to a string holding it up like a toy for a baby’s cradle. I tried my best to find images around my house that centers around prominent things that I don’t have when I’m not home, that also including my religion, I don’t pray as much as I used too but I still use god in a way to comfort myself if I’m ever overwhelmed or paranoid. Leaving my house to my rent, made me feel like god left me, for a bit, which sounds bad, but actually wasn’t, I genuinely believe I can be overdramatic when it comes to emotions, therefore god hasn’t left, it was just this sense of walking in my own body for the first time alone making it harder, but not in a dramatic way.

If I were to be at home, my cat would be sitting on me as I’m doing my homework and he’d watch the screen with me. He’s a very self-aware cat, and like most “pet-lovers” my cat is a sense of comfort and holds together the word “home” and plays a part into my parents as my pets are also their children.

Final Video: Sniff the Comfort

Video assignment: JSchlatt

Here we see into a world of Jschlatt and the possibilities there is in being a Youtuber! Considering Schlatt as a digital creator, he creates many videos of him basically having fun and succeeding with viral content. When describing JSchlatt’s videos he has this very captivating, but chill-back personality with addition to lots of loud noises that grabs the attention of the audience, especially in this generation today, just like “Ryan Trecartin’s videos” having this chaotic nature. He is also included and part of a podcast called “Chuckle sandwich” which is less chaotic. As I do enjoy the style of choas in videos and the concept of not caring, I also do enjoy animation and the idea of putting a cartoon into reality. I might further base my idea in animation or at least have a technological aspect that involves a sense of cartoons.

Video Assignment Brainstorming 

For this assignment, I worked in partners with Hallie, at first, and we both decided to make a video based off Ryan Reynolds and his friend, kind of like a comedy skit of both me and Hallie giving each other little videos or ads that we created. We also looked more into other video concepts that included comedy or generic YouTube videos, but made in a different manner to have a uniqueness or stand out from other youtube videos. After, we worked with Sam and our video ideas expanded into cosplay and the Realm of cartoons, which I personally love, I love animation. We began spiraling off ideas, and a story board that was fixated off a childhood cartoon called “Powerpuffgirls”, where we started our plan!

Video inspirations

Truce: Ryan Reynolds and his Friend
How its made: comedy skit

In the Studio Production …

Screenshots !

Tattoo Assignment

I started out thinking about tattoos and how no matter where I get a tattoo, my acne would still be visible, from arms to back, luckily for me, it almost comes off as an excessive amount of freckles. I began looking for image inspiration from other people who suffer from acne, specifically for me its all the way from back to shoulders to chest, so I never wear tank tops, maybe one day I will. I also, generally, have a lot of random dots on my face, which are really flat moles, as well as all over my body. This time was probably the worst it was at because my acne bases off stress levels, but its just part of me so I see it as freckles and sometimes I forget about it until I start to change my clothes. Its oddly a very forgettable thing to have even though it looks bad.

The vulgar aspects that people don’t like seeing, I think I am going to avoid any bad or nasty parts, its just skin so its okay, and there are beautiful aspects to flaws. I later on changed my idea of covering flaws to a more comforting way of solving things that include movies or tv shows. Watching or creating things you like or love absolutely take away or make you forget your own existence or being, kinda like being not self aware of yourself anymore. And in that I present an animation of two people I adore from the movie and book “Little Women”.

imagine inspiration

Digital designs: Changing up the concept…

I’ve been into animation for a while now, just haven’t considered further education in it, and there’s something in my soul telling me to make it a career, even if there’s already thousands of animators out there. My idea is based off two loves, the movement of a picture in motion and the movement of two people in love. In this specific animation, I took a scene from the movie of the two spinning on ice.

Week 7

  1. The Internet is Video Art Lecture
  2. Assign internet video presentations for next class-
  3. Look at any final Parents videos-
  1. Give short internet video presentations
  2. Read and discuss article
  3. Assign proposals for Internet video art


THE INTERNET IS VIDEO ART:

Faced with the awe-inspiring popularity of web-monoliths like YouTube, contemporary art risks becoming nothing more than a quaint relic of the 20th century.

It’s probably not fair to compare contemporary art practice with YouTube; yet there is evidence to suggest that somewhere in the ulterior of its collective brain, the art world does just this, and finds itself lacking. How else to understand the ongoing assurances given in art exhibition press releases and catalogue essays about the important role the viewer plays in the construction of meaning – and the intention to facilitate it with this very exhibition?

If artists once played a leading – avant garde – role in providing a complex and forward-looking framework for reflection on the contemporary world, it now seems most comfortable bringing up the rear, providing explanations for developments already intuitively understood and widely enjoyed by the culture at large. “

Rosemary Heather, From Army of You Tube

Artists who shape and respond to popular video culture

Pipillotti Rist

Pipilotti Rist (Swiss) talks about her first work of video art “I’m Not the Girl Who Misses Much” from 1986 – barely art – that they submitted to a festival just to get a free ticket to see the shows. Before MTV, before YouTube the artist – like Joan Jonas or Bruce Nauman or Nam June Paik and others – was performing simple gestures, improvised performances, and performing herself in footage that was rough, poor quality, chaotic and spontaneous.

Did artists invent music videos? You Tube?

Kelly Mark

Or cat videos? See Kelly Mark, Toronto based artist in 2002.

See the video here: http://kellymark.com/V_MusicVideoSeries1.html

Ryan Trencartin

“Ryan Trecartin’s videos depict a vertiginous world I’m barely stable enough to describe. Watching them, I face the identity-flux of Internet existence: surfing-as-dwelling. Images evaporate, bleed, spill, metamorphose, and explode. Through frenetic pacing, rapid cuts, and destabilizing overlaps between representational planes (3-D turns into 2-D and then into 5-D), Trecartin violently repositions our chakras. Digitally virtuoso, his work excites me but also causes stomach cramps. I’m somatizing. But I’m also trying to concentrate.” From Situation Hacker: The Art of Ryan Trencartin, Wayne Kaustenbaum

Maya Ben David

Biography

Maya Ben David (MBD) is a Toronto-based Jewish-Iranian Anthropomorphic Airplane. Working in video, installation and performance, she creates worlds and characters that aid her ongoing exploration of anthropomorphism, cosplay and performative personas. Ben David presents the origin stories of her characters in the form of video and performance, and expands on them via her online presence. They often inhabit alternate universes accompanied by nostalgia, such as the worlds of Pokémon and Spiderman. In addition, Ben David also plays a character called MBD who is known for having multiple feuds with her many alter egos as well as the art world. Most infamously, MBD has ignited online feuds with artists such as Jon Rafman and Ajay Kurian.   Bio from her site Maya Ben David

Arthur Jaffa:

Warning about video art below: Contains explicit/violent material, actual footage

From Arthur Jaffa, Love is the Message, the Message is Death

“Well my thing was like, first of all, there’s something to be said for just making explicit what is oftentimes implicit—which is black people being killed as if we’re not human beings. How do we introduce something in the space that can cut through the noise? There’s a real problematic around the appropriateness of having an image of a man getting murdered. But this footage is all over the place. It’s everywhere. It’s not like we’re talking about digging stuff out of some archive that’s never been seen before.

It’s literally everywhere so the question becomes: How do you situate it so that people actually see it, this phenomena, as opposed to just having it pass in front of them? How do you have people actually see it? And simultaneously, how do you induce people to apprehend both the beauty and the horror these circumstances? There’s something profound (and magical) to be said about the ability, the capacity to see beauty anywhere and everywhere. I think it’s a capacity black people have developed because not only are we are not authorized, we’re demonized—we are radically not affirmed, so we’ve actually learned not just how to imbue moments with joy but to see beauty in places where beauty, in any normative sense, doesn’t necessarily exist.”

From Love is the Message, The Plan is Death, Arthur Jafa and Tina M. Campt in coversation on e-flux

OPTIONAL READ: From Love is the Message, The Plan is Death, Arthur Jafa and Tina M. Campt in coversation on e-flux

Orian Barki and Meriem Bennani, 2 Lizards: Episode 1, 2020

2 Lizards: Episode 1, 2020

Artforum is pleased to host this Instagram video by Orian Barki and Meriem Bennani, made while self-isolating because of COVID-19.

Beautiful moment of communion through sound waves in Brooklyn despite social distancing—the virus’s protective membrane is very sensitive to soap and heat but also bass. These two lizards are lucky they work from home and can afford to stay inside. This is the first collaboration between Yani and me; we made it over the weekend to take a break from editing and animating for work. —Meriem Bennani

This is what it feels like to live
presently in a historical moment.

2 Lizards is an artistic time capsule that fuses genre—part documentary, part fiction—using cartoon animals to represent the artists’ community. The resulting absurdity and realness channel humor and sincere emotion to explore the societal fissures that formed around the pandemic, and its intersection with systemic racism. Each episode explores a specific quarantine mood: dreamlike detachment, anxiety, impassioned protest. Melodrama is notably absent. Instead we see cool emotions and “affect management.” Daydreaming, scrolling, and distraction abound. In addition to physical confinement, there is an emotional confinement that manifests as out-of-sync-ness: the lizards move with a particular cadence, slightly slower than everything else. This, the videos seem to say, is what it feels like to live presently in a historical moment.” From MOMA

2 Lizards joins a rich history of diaristic video art, including Gregg Bordowitz’s episodic Portraits of People Living with HIV or George Kuchar’s performative video diaries. Like Bordowitz’s and Kuchar’s footage of the mundane, 2 Lizards focuses not on the crisis as an event but on its daily effects. (It isn’t until episode four, when the lizards visit a friend, a healthcare worker, that we hear stories about the coronavirus tragedies.) As an event, contagion is invisible, but the ripple effects are evident. This is reminiscent of cultural theorist Lauren Berlant’s term “crisis ordinariness,” whereby “crisis is not exceptional…but a process embedded in the ordinary that unfolds in stories about navigating what’s overwhelming.”[1]

2 Lizards

2 Lizards

This series speaks to the changing methods of image consumption that aim increasingly toward smaller, more portable screens and user-generated content that seeks to comfort through humor. Like memes, the lizards are an opiate for our precise moment of extreme social disruption. Much of the value in these videos is their format (the Instagram video), as they inextricably tie the work to the platform and its users. 2 Lizards is a feedback loop: it reflects the Internet by incorporating new modes of image technologies related to the constant stream of pictures, which are then distributed back into the world through those very feeds. During lockdown, in the context of isolation, social media became a place where many of us channeled our pent-up communal and emotional need to connect. It is where we received information about the world and began to watch a new one unfold.

Yuula Benivolski

aspacegallery.org

“Scrap Pieces is a collaborative meditation on the physical components of the surface of images. This 4 channel video project borrows materials from the studios of four Canadian photographers: Laurie Kang, Jeff Bierk, Nadia Belerique, and Celia Perrin Sidarous. Filmed in the intimate style of Autonomous Sensory Meridian Response (ASMR), Benivolski soothes the viewer using debris and scrap materials such as small pieces of metal, silicone, plaster casts, test strips, seashells, glass, wires and transparencies.” Yuula Benivolski from her site

https://www.archivalaffections.com/yuula-benivolski.html

Traces
2021 / 4k video / colour / sound / single screen / 62’46

“Traces is an ASMR video tutorial that demonstrates the process of forensic fingerprint development on old currency that has been out of circulation for thirty years. With Bridget Moser.

I left Moscow at 10 years old when it was still part of the Communist USSR and made my first trip back home to the “Russian Federation” 28 years later. Curious about the disappeared ideology and citizens of the place I was born in, I purchased 300 Soviet banknotes which went out of circulation in 1993, with plans to lift fingerprints off them.

The fingerprints, once revealed through a chemical process taught to me by a forensic specialist, are photographed using an orange filter on a macro lens, and enlarged 80 times their size, in order to show the last natural traces of a place that has been made to vanish.” Yuula Benivolski

Assignment for next class:

Forage through the internet for the tropes of popular video culture you would like to explore more deeply. We’ll discuss possible options in class, so a pair of students can each present a video genre. The presentation should take up to 10 minutes MAX. including video screening time.

Prepare a presentation on your blog page – of one internet video. Include a detailed description of the video.

Consider these questions and others relevant to your selction:

  • How is it shot, and framed? Where does the material come from? What is the quality of the footage?
  • How is it edited, and does it flow from clip to clip?
  • What does it sound like? How are sound or image manipulated and transformed from original footage?
  • What are some of the key features that define this genre?What are some weird variations on it?
  • What are some of the reasons these kinds of videos are compelling or useful in this historical moment? Use quotes from published sources to back up your arguments and analysis.
  • How do you relate to it?

Post your presentation materials on your blog (on both partners’ pages).

Prepare a PROPOSAL for next class:

POST INTERNET VIDEO ART

Together with a partner – prepare a proposal for a new Post-Internet video work of Video Art to discuss. Include references to video tropes on the internet.

Consider some of these questions in your proposal:

  • How does your video document a historical moment – in internet culture, and in the wider world?
  • Do you want to use found footage, or create footage, or perform for the camera?
  • How does it amplify, deconstruct, or subvert what is already happening on the internet?
  • What is the kind of experience you want to create for viewers/users?
  • What is the ideal site for presenting the video – is it on the internet? As a meme? On social media? In a fan site? In a gallery installation? A projection in public outdoors? How would it ideally be circulated?
  • What are some of the technologies, software, or technical experiments and gimmicks you may need to achieve? Do you want to use avatars? Live stream? Rip music and video from YouTube? Prepare your ambitious technical goals for Nathan, and we can design demos to support your ideas.