Work of Art; Week 3; "A Shock to the System"

Let me start by saying that this posting will be a weekly venture. Every Wednesday after Work of Art, I will be posting a commentary on the show, and posting a work that I will make within the hour of watching the show as a direct response to the challenge. I became obsessed with the show since I auditioned for it way back when at White Columns. I actually saw Jackie that day during auditions and said hello. We knew of each other through going to MICA and it was an awkward moment because I’m not sure she really cares too much for me. Nevertheless she is the reason why I watch and am addicted to this show... Proud Pussy, caulk, self-aware whoreness, and all.

Let me explain to you a little something about Jackie. If you think Miles or Nao created personas for this show, I think you missed out on the biggest persona of all. Back at MICA I knew Jackie as the girl who always wore stilettos, and always dressed to impress. She carried herself as a woman who knew that men and women would look at her and acknowledge her aesthetically sexual and beautiful body, but there was always at least 25% of Jackie that will ignore the fact that she is responsible for this reaction, which is what I love about her. Her work is interesting in that it involves female empowerment through female oppression, but sometimes I think her imagery gets a little muddled with all the bras and thongs (and i think sometimes it gets confusing a little about whether it is empowerment or oppression that she is communicating)... any way, back to the show.

China Chow showed up at Phillips de Pury wearing an umbrella around her waist. Uhm. WTF.

I don’t agree with this challenge at all. Shocking work does not really exist- not to me at least. To be shocked, one would have to suggest that you have never even conceived of what you are being shown, and it is so grotesque that you can’t even handle the sensation. But with the rise of the Internet, I don’t think people are hiding themselves from visually explicit material anymore. I don’t really even find Piss Christ to be offensive or shocking in the whatsoever.

I remember giving a speech in high school, and an oral report at MICA about Andreas Serrano. Both times I had trouble with defending his ‘overly-shocking’ imagery as appropriate. Post graduating, I take a stand against his work. I don’t think that his work is all it’s cracked up to be. I don’t really want to get into it either. All I will say is that I remember when I first heard about the rapper Eminem, and I found his music provocative. Now when I hear of him I just wait and pray for the day when he actually kills his daughter Hailey, rips Kim up with knives, and commits suicide during an overdose like he raps about in his music. It’s like… all talk – no action, and I’ve been waiting for the punch line for way too long.

I dislike Miles Mendenhall. I think he is just like most of the white boy art school kids who play by the traditional rules of art in a very general way in order to make visually pleasing works that satisfy the mind and the eye. He is like one of those tightly wrapped conceptual packages that end up coming up empty to me. He makes art more like a math problem to be solved rather than a truly ephemeral creative intention. SO yeah. First erection – to last erection, and some genitalia/Mickey Mouse. We get it, you like layers of metaphor.

What was Peregrine wearing? It was obviously the same outfit her mom was wearing when she chose to name her Peregrine.

The fight between Jackie and Erik was absurd. Both of them should realize that artists working in within close quarters will be influenced by one another, and in no way does that bit of influence take away ownership over the piece. Simply acknowledge that the influence was there and move on. However, years later when the work is being viewed in a gallery or book, there would never be a tagline stating that “the interactivity of sharpie markers was suggested by Erik”.

Congratulations, Abdi. I do have to admit that I was sad that Jackie didn’t take this one home, though I wasn’t sold on her project until after she implemented what I will call “Erik’s Suggestion”. Abdi, on the other hand, had a very interesting concept from the get go, and I appreciate his honesty in regard to African American oppression and his bold statements.

Nao didn’t deserve to go home. Her performance was very ambiguous, and though we all know she had no idea what she was doing, it still wasn’t as bad as Erik's Sex Education.

John’s days were numbered from the beginning due to his uninteresting attempt at creating homosexually engaged artwork. I liked his general aesthetic, however.

I was actually interested in Jaime's piece a lot. The blanket statement of 'shocking' was looming over these artists far too much and did a disservice to the work. I thought her work was genuinely touching on some topics she seems to be interested in, and I liked to see her get more into herself as opposed to the past work this platform has brought out of her.

Erik really needs to stop making art in general. Some people are actually artists, and some people are just creative. I think Erik is just naturally creative. Maybe it would be best if Miles traded about 50% of his hyper-conceptualism with 50% of Erik’s tongue and cheek kitsch art making process.

And for my creation this week….

Palm Sundae

Now, Like I said, I don’t believe in shocking work. I don’t believe I failed myself in making shocking work either. I would say that the show failed at making a realistic challenge and harped over a long existing stereotype that art is supposed to ruffle up some feathers.

Unknown Artist; DJ Michael Anthony

I recently had a gig shooting with a friend of a friend for his DJ promotional material. He goes by Unknown Artist. I had this concept that we would try to conceal his face as much as possible to play off of his name. I also used his name in the headlines on the newspaper and included a picture of him there was well. I will repost when I finalize the card design. To be completely honest, I'm happy about these!

Leaving Oz

The title of this image is "There's No Place" from my series Heart of This Home which I produced in the summer of 2007. The series was shot with a 4x5 camera. I recently revisited this negative in the darkroom and wanted to expand it's definition.

I created Dorothy Leaving Oz, an 18 photograph series of images which started with a primarily with contact print from the original negative, secondarily with a contact print of the first print, and so on, (note the negative and positive flux), until the image became a harmonious grey tone.

(Each print was created with the print that came before it, in other words)

I wanted to visually express Dorothy's transition between worlds to parallel what is said in the text of the original novel The Wonderful Wizard of Oz. The word "grey" is used ten times in the first chapter of Oz. Creating this work was much more effective for my than the overall impact; waiting for each image to go through chemicals and dry to be able to print the next slightly more grey image was silently haunting. (I made sure to create all 18 prints without leaving the room once for a personal effect!)

...

It took a bit.

Rectangular Reflection

Rectangular Reflections was conceived of when the tenants who lived below me moved to another residence and there was a period of time when I could enter the apartment and photograph. This was a new concept - not being able to enter the house for any period of time - being my cousin Michele used to live there my entire life until I was 21, and I'd frequently be found there. I chose to use mirrors because I liked the ambient light in the space and thought I would play around with it. Subconsciously, I found myself stealing back my childhood for these few seconds and had created evidence of it. It felt pretty good.

This mini-series is a part of my personal work that I produce with 35mm b/w film, which I develop and print traditionally in my home in Jersey City. The photographs are printed on 3.5 x 5 inch paper.

Ode to Morell

I've been trying to get back into the mood of making new work, but have been coming up empty in terms of what I want to do in the long run series-wise. Among the few works I've created during this artist block are photographs inspired by Abelardo Morell, Cuban photographer based out of Boston. His widely recognized for his work with creating camera obscuras in places around the world and taking long exposures of the rooms. The following images are my explorations with his process.

I took a mirror at one point during the shoot and reflected some of the light onto the ceiling.

I also took a large piece of paper and hung it in front of the hole in the window. The image projected itself much like the ground glass of a large format camera. So fun.

Thank You Larissa!

I wanted to write a short biography of Larissa and thank her for blogging about my work, but it seems that the biography on her website would beat out anything I could say about her.

"Larissa Leclair is an independent photography writer and curator. Her writings on photography have been published in the photo-eye Booklist and ArtVoices. She curated the exhibition Today’s Past: Images of Africa from 1952 to 1960 of photographs by David E. Apter at Yale University and re-appropriated the Zagourski postcard collection. She has photographed for the Chicago Field Museum and the U.S. State Department and has worked for Arena Editions, Outside Magazine, and the Santa Fe Workshops. She is on the Photo Book Committee for FotoWeek DC, a reviewer for Critical Mass, and assisted Philip Brookman with the exhibition Helios: Eadweard Muybridge in a Time of Change on view at the Corcoran Gallery of Art from April 10-July 18, 2010. Larissa is also a collector of photography and photography books. She holds a Bachelor of Fine Arts in Photography and a Bachelor of Arts in Cultural Anthropology from Washington University in St. Louis and a Masters from Yale University."

Larissa will also be blogging about the participants of One Hour Photo, a show at the AU Katzen Arts Center in DC. You can visit her website here, and read her blog here.

One Hour Photo

One Hour Photo Project was something I hear of indirectly by my inbred lifestyle of being a MICA nerd—I usually check the MICA alumni facebook page about every week, and I click on the MICA website more than once a week. I saw that someone had posted about an open call for submissions on the alumni facebook page. The show was created by Adam Good and curated with Chajana denHarder and Chandi Kelley. I submitted a self-portrait about my father’s death, looking into his gravestone. I have been through a rather rough patch in my life recently and I want to lay this sort of expression making to rest because I finally feel like I have other things on my mind. I agree to never show this work from this point, so I cant show anyone.

May 8—June 6, 2010

American University Museum at the Katzen Arts Center

Washington, DC

Hours: 11:00 a.m. to 4:00 p.m., Tue-Sun

"One Hour Photo distills the photograph to the ultimate limited edition: 60 minutes. Photographic works will be projected for one hour each, after which they will never be seen again, by anyone, in any form. Each work will exist only in the limited moments of perception, in the individual and collective experience, then memory, of the observers.

One Hour Photo complicates the myth of photography as preservation, manifests the tension between the permanence of the medium and the impermanence of time, and subverts the profit model of the edition and the print.

Documentation of the experience will consist of signed release forms: each participating artist will pledge never to reproduce, display, or sell the piece they've include in the exhibition."

RM Fischer artist talk

RM Fischer is friend and father of BFF Dena Paige Fischer. Ronnie, (is it okay if I call you Ronnie on the internet?), is a New York artist that has been making work since the early 70's and has a very interesting evolution of how he defines his art as an artist, and what his art has done for both communities, and for his own personal definitions of what art can do, or shouldn't do.
PNC Bank Bulding in Philadelphia. Two steeples made by a mass producing steeple company attached to building horizontally. I think that this piece specifically speaks to how Ronnie's work is created and conceived. Traditionally, a church steeple is created to be the tall monument that dots the landscape in order to feel closer to God. However, in RM world, these implications are cast to the wind as he asks the audience to please forget the religious implications of this object and understand it's truer form in respect to the object itself. Unfortunately for the new brand of university driven conceptual artists who work slave away like termites with thinking caps, his work is not an overly convoluted sculpture damaged by institutional thinking. His work just simply is composed object.

Battery Park City

MacArthur Park, CA
Kansas City
Inspiration for newer work! I like that Ronnie finds a lot of his inspiration from younger genres and just simply likes stuff, as opposed to some people who make very pretentious connections to their art inspirations and their own work.

Newer work, recently on view at KS Art in SoHo. Work was rated as as part of Jerry Saltz's Top Ten Art in New York for 2009.


I think that Ronnie's talk at MICA was a breath of fresh air for the students there. Sometimes students need to hear something that isn't washed over with bullshit, like most of the art talks at MICA, and hear about something that is a passion for the arts, about making the life of the artist work for you in whatever ways possible, and to cut down on the unnecessary pretentious lingo.

Select Gender; Farmani Gallery

Curated by Paolo Morales, Elle Perez, and Rafael Soldi; This show is an example of the kind of thought process it takes to make a great curated show by young and upcoming artist curators. I won't allow myself to say anything more than that, as I don't want Elle, Raf, and Paolo's heads to explode too fast. Show explores gender in a number of ways through the medium of photography and digital medias. Located at the 111 Front Street (Brooklyn) gallery building, you can see many other shows as well; right AFTER you check out this one of course at Farmani Gallery. Work is a great collection, pieces that delve into the GENDER spectrum, something that I feel people without such knowledge don't really know exists. It is my opinion that gender should be introduced to grade school children at the same time they learn about sexual reproduction.

MICA picture at opening: Top left to bottom right; Momma Kate Burnley, Elle Perez, Rafael Soldi, Alexander Heilner, Chris Simpson, Iris Litwin, Andrew Bovasso, J. Aiden Simon.

Another MICAn and artist in Select Gender, Nick Dijanji
Elle Perez and coffee drinker and photographer Sean Scheidt, also works as MICA photo tech lab manager.
Senior Portrait; Sarah Sudhoff
Inspired by Edward Weston 1; Inspired by Paul Strand; Kate Hutchinson

Billy and Albert; Jamil Hellu


Untitled (Blue Shirt); J. Aiden Simon
Garden; Katie Koti
Alyssa and Alea; Diane Russo
The Escort; Coquette; Miss Coffee; Circle of Men; Carl Bower
Nick (from Basement Warrior series); Dan Aguirre

After seeing this show, I walked back into Manhattan on the Brooklyn Bridge, officially my first time on the pedestrain walkway. And it was pretty magical.