Posts Tagged ‘storage’
M.O.L.D. is a hot zone-themed wet lab and workshop at Angels Gate in San Pedro (5/3-6/12) that investigates the science, politics, and culture of food decomposition. The audience is invited to participate in various experiments and build their own amateur bioindicators to assess food quality and safety. www.finishing-school.net/mold.html
Finishing School is an interdisciplinary artist collective that explores contemporary social, political, and environmental issues. Their projects conflate praxis, play, and activism and seek to engage audiences through various participatory models. Finishing School was established in 2001 and is based in Los Angeles.
Patrick Holbrook lives and works in Chicago. His work examines the spaces and movements of commodities and people, the intersections of power structures, ideological expression in engineered and cultural forms, cultural memory, and speculative possibilities of alternative ways of living. Based in video and digital media, but including other materials and objects, it has been shown at spaces such as The Atlanta Contemporary Art Center, The Yerba Buena Center for the Arts, Antena in Chicago, and in solo exhibitions at Eyedrum and the Saltworks Gallery Project Room in Atlanta, A\V Space in Rochester NY, and Washington State University Tri-Cities. He is an Adjunct Professor at The School of the Art Institute of Chicago and Columbia College, was a visiting artist at Rhode Island School of Design, Scripps College, and The University of Memphis, and was an Assistant Professor at the Georgia College & State University Art Department from 2002 to 2007, where he started the digital media area. He also curates exhibitions at Eel Space. He grew up in New Hampshire and received an M.F.A. from the University of Massachusetts – Amherst, a B.A. from Hampshire College, and plays music with The Wood Knots.
|A Record of Consumption
HDV, 2 Minutes and 23 seconds
WATCH VIDEO HERE
HD DVD (2 minutes), 2008.
WATCH VIDEO HERE
HDV, 2 Minutes 40 Seconds, 2008.
WATCH VIDEO HERE
My work investigates post-industrial culture through the common uses and origins of modeling, gaming and information technologies. In my projects 3D models represent a quixotic attempt to make sense of things. To me games draw attention to the rules we (un)knowingly agree upon from one situation to another. I also use games and models for their association with childhood, which I see as an endless condition.
Lately I’ve become interested in shooter games and how they construct and conflate entertainment, childhood, war and masculinity. The video “Halcyon Atmosphere” and the sculpture it generated, “Semi-Automatic”, both use the sublime transformation of fearsome or horrific subjects into objects of contemplation and beauty, approximating of the kind of sublime experience of becoming immersed in a shooter game.
In shooter games, the gun quickly replaces the body as the primary site of agency, status and control. So in “Friendly Fire” we stripped a shooter game of all its other elements, including gravity. Only guns are left, floating in an infinitely empty expanse. “Friendly Fire” explores basic questions of personal agency within a set of rules and a field of “play” that appear to be familiar, but are in fact all inverted. The more the player shoots, the more guns appear and the less control the player has.
This sort of inversion is similarly illustrated in “on_The Ball”. A cue ball, which, like the shooter’s gun, is another presumptive “actor” or site of agency and control, has been fixed to the center of the video image. The table bounces around the ball, an inversion which calls attention to the limits of the playing field. The table becomes a metaphor for the unspoken rules we agree upon from game to game, from moment to moment. Who has more agency, the player or the agreed-upon boundaries of the game?
|SEE THE VIDEO HERE||SEE THE VIDEO HERE||SEE THE VIDEO HERE|
“The Statue of Yong” is a self portrait bronze sculpture by artist Yong Choi. The Museum of Science and Industry in Chicago let him display his sculpture throughout the museum. Yong Choi received a BFA from the School of the Art Institue.
My art is the best method to communicate with others. I want to share my feelings with other people because I can get inspiration from my ordinary life and others are in my story without their will and opinion. So I want to give a little present to them in return. When I carted my statue on the street, many people asked me to take picture of me with my bronze twin, and I was glad to pose with their children and answer their questions. I tried to do my best. Some of them got my information, and sent emails including the photo images with cheers. I love the mutual activities. I would not expect spectators see my work raise their heads. That is why I made him laying down on the ground, and people can come and see him easily.
At 4’ x 5’11” and 400 lbs my bronze piece is not light. The traditional medium, bronze, makes me jump into history. I recorded my idea and thinking of every single day. And bronze “YONG” can travel the world and survive after a couple of thousand years conveying my will. Nobody knows the future. That is why life is so hopeful and I overcome my difficulties in the moment. The affirmative concept of my life often helped me to grow into a better man, and overcome my anger and frustration. If I change my point of view, my keen cutthroat competition can be comic film to others. So I do not want to be too serious and will take a cheerful view of life.
My goal is to make simple and effective modifications to everyday objects in order to open up their meanings triggering new associations for the viewer. For me, the best art engages and stimulates perception. I hope to exploit an object’s communicative potential and lead the viewer to consider the source and function of the object within the material culture and the contradictions and complexity of such culture. I work with a variety of media including craft, video, ready-mades, and found objects.
I spent my childhood and adolescence in Mexico City absorbing a visual landscape spanning pre-Columbian, Colonial, and Modern times. My sensibility is informed by these early experiences and most powerfully by the ingenuity of folk culture and its capacity to assimilate and corrupt/transform all these languages into hybrid forms of expression. After moving to the United States I drew from my aesthetic reservoir in an attempt to cope with the loss of the visual stimuli of my youth. I favored the low-tech processes of silk-screening and block printing which allowed for more immediate self-expression and often used folk motifs retrieved from memory.
In my current work I investigate the intersection of different cultural registers (e.g. the language of modernism and minimalism vis-à-vis feminine handicrafts, consumer society, design, and the everyday). I continue to use what is at hand and process materials through the grid, repetitions, pairings, and juxtapositions. I am interested in how something small and mundane can open up to larger meanings.
Georgina Valverde is a Mexican artist, born in Mexico City, 1962 and lives and works in Chicago, Illinois. She received her MFA from the University of Illinois at Chicago in 2003.
Photo credits: Bill Bengtson
My work is based on personal experience, convictions, education, and personal taste. My current primary focus is on concepts of identity (in general), the idea of a sponsored identity, consumerism as a creator of identity, and post-colonialism. This subject matter can be very specific and personal at times.
An important aspect the work is its relationship to the audience. While I do exhibit in traditional spaces such as galleries, more often than not I create pieces for community spaces. In this way the work breaches the correlation between art and consumerism and becomes something to talk about rather than remaining simply a “precious art” object.
The end product of most of my work has aesthetic elements that visually engage, inform, educate, or create interest for a viewer on the given subject.
Pellot was born in Mayaguez, Puerto Rico, and resides in Chicago. He received his BFA from the University of Illinois, at Chicago, and his MFA from Northwestern University, Evanston Illinois. Pellot works in various mediums such as painting, screen-printing, video and sculpture. He is a conceptual artist who engages social critique, politics and humor.
Navajo Rug (a little sex, a little violence)
Currently living and working in El Paso, TX
Print media and packaging from various cultures and eras, political propaganda, historical and scientific drawings, pop art, industrial design, and recycling are my influences. Examining consumption of the visual as a unique commodity is my curiosity. I approach it like a scientific process, with results depending on chains of small experiments.
I favor the use of recycled and found objects, especially old slides, books, advertising, and used fabrics in my current work. The shortened life cycle of goods in the global marketplace begs intervention – after being sold, bought, and used – things can become something different in their afterlife. With a sewing machine, tape, and intuition I test how feasible it is to intervene.
I feel like I straddle an invisible fence between cultures and histories; soaking in what I see in the world at large, mainly through print media, hybridizing it to my specs, and then turning it loose upon itself. It is either adulteration or making with what is at hand when there is lots at hand. Seeing things being thrown away as a byproduct of the current mass digital conversion of libraries, print media, and photographs is the perfect way to have lots at hand.
2003 University of Texas at Dallas (B.A. in Art & Performance)
Brave but Doomed
Perlas y Almendras