Andy Williams installation at the ARC

here are some images of artifacts, suggestive artifacts (unreal), and documents of the rememberance of anne r hall. im thinking that these images will function as a pre and post archaeological finding with the video performance acting as the constructive link which connects the images. in the representation of the artifacts read as (passport, dental bill, high school photo) im working to portray an anonymity (not ambiguity thanks kahla) which sets the stage for a construction of her identity, revealing little information regarding her actual presence.

marie-claire update

**marie-claire update**
apparently marie claire is a magazine for women that informs them of fashion and beauty tips i approached the work as if it was the subject's name but now am considering it to be more of a reference to the feminine ideal and our own connection to the way in which we want to be represented.

i decided that i would research images that i felt related considerably to the exploration i've been doing in the resurrection of anne r hall. emily-jane major marie claire r.i.p. (2004-2006)

Aletheia – Positions in Contemporary Photographies is a show currently going on in helsinki which is in finland i learned today. but not only is helsinki in finland but it is hosting a 2009 photography festival but not until 2009 so you'll have to wait til after the ball drops or dick clark dies whichever comes first *no offense to the clark estate*.

this show is focused around the idea of questioning fundamental aspect in the medium of photography like the real and photography's relationship to contemporary culture. i know it sounds very theoretical but its time to start thinking critically so here we go.

i couldn't find any information regarding the artist responsible for this image, but i love it/them. im a sucker for the diptych as you may well know and i appreciate the representation that any truth can be told in a photograph whether real or unreal. a portrait is taken in a graphic button down blouse with the artist (i'm assuming) wearing what appears to be a wig. In the second portrait she looks all strung out with a swollen eye, maybe she isn't strung out but she looks all kinds of shitty. and then the title of the piece is marie-claire rip 2004-2006, which seems to refernce that some fundamental change occurred between the taking of the two images yet is not illustrated. i like how the work functions in the way that it can be approached with a multitude of different reads and they all simultaneously affect/enhance the work. the viewer gets out of the images what they draw from in order to connect the dots.




i spent almost all afternoon looking at the work of the wonderful space 1026 artists and have decided to include not one but two in this week's contribution. both molly mcintyre and william paul buzzell are holding it down for the 215 and or/ the 610.
molly mcintyre we can do whatever we want

i love the line work of the image deducing these 3 seperate activities to their bare essentials. watching television, yawning, playing with the cat are all "spinster" stereotypes which i used to inform the construction of anne r hall and here they are pulled together in one image and it took me 12 images and a song and video and dance okay no dance. this work seems to reassure me on my own artistic intent and it's super beautiful too.



william paul buzzell self portrait as a townie

another 1026'er whose decided to paint the visual evidence of his connection to a location. driver's license, diploma, donor card are these pieces of visual evidence that typify the way we want to categorize someone, when placed juxtaposition to one another they seem to communicate how our identities can become linked to location. we are not just a blood donor but a rhode island blood donor which is where we went to highschool and where we learned to drive. the images are also set against a brick wall signifying its ingrained quality to the specific place. i've started to assemble my collection of typified ubiquitous artifacts that connect anne r hall to the type of person she is constructed to become.

sarah hates when i put the beanie on her maggie cilia doll.  so i took the opportunity this sunday to murder out her cabbage patch kid.  these images are super ridiculous in content but i like them, i tried to mimic a graffiti cross processed aesthetic with the images to reinforce her relationship to the street.  

our intentions are honorable

space 1026 gallery in center city philadelphia is hosting a text-based sculptural show of artists trevor reese and signnh. in the statement regarding the work it's said that the sculptures relate to ideas of issue resolution big or small. the voice that comes through as the artists own is one of reaffirmation or total positivity. i like the work because it makes me feel good. the work informs me that everything will be alright which i think is an important counter-point to the state of mass-media or political campaigning that everything will be okay. Sighn (possibly misspelled) also is showing work of crossed out "things that he wishes he could say". i haven't seen the show so i'm not sure how it all works together but it sounds great. and im happy that philadelphia is showing important work.

jean luc-mylayne

jean luc-mylayne is having an exhibition at the gladstone gallery in newyork. i couldn't find much info regarding the show but found this image and was really drawn to it. the work is printed huge and spaced far apart enough to act as its own environment. the tonality and quality of the printed image is so luscious and vibrant and beautiful. i selected this image because i've always been drawn to thickets both in my own exploration as well as photographing them. i've never quite understood my fascination but the layers and depths of green have always made me curious about what lies beyond the thickets. this functions in that similar way with little light breaking through besides the sky inviting the viewer to examine the contents of the woods.

susan meiselas at icp

susan meiselas currently has work up at the international center for photography. her work has been documentary in nature for the past few decades covering social upheaval in central america. her most notable work was photographing the violence in nicaragua in the early eighties which was later turned into a photo book. the title of this show is "in history" and is an overview of meiselas's career in documentary photography.

i chose this image because it appears as this moment on the verge of exploding both literally and metaphorically. he reminds me of che guevera and that with the molotov cocktail seem to reinforce this notion of revolution. a woman is crying behind a small pile of sandbags is a desolate landscape. it's interesting to see work that is so infused with passion and emotion of all varieties .

these are images i took of a model landscape i built. the goal was to build an entire house with landscape after seeing jasper de beijers exhibit at the mca denver. i only got to building a small lawn and gave up. this is a visual document of that failure. but when focused in upon the images are actually kind of interesting they look like a field made of brocolli. i think initially my intention was to create a new reality through this false one but unexpectedly in its unfinished form these images bring up questions of scale, geographic location, vastness of nature, relavance to the real which are all unanticipated visual reads of the work. In an effort to create building blocks for a story, the work creates disturbing questions regarding the nature of the real.