Not Packing It In

This was taken last Friday. I have not posted since then (11.15.13) because I have a tendency to "pack it in." I give up throughout an endeavor and then try to save it at the end. Maybe I manifest a sense of desperation to test my resolve. This will stop. Tomorrow, I will report back with pictures from today and I will discuss one of the topics mentioned on 11.15.13.

Information Extracted (Roll 1)

Last Monday I spent the afternoon in Rittenhouse Square Park. I laid out a roll of cardstock paper and extracted information from the environment and my body through movement.

This work deals with the body, maculinity, sweat, capability, repetition and testing oneself.

Weight: 10/14/13

Weight: 169.4 lbs.

I am losing weight. I was a little over 180 lbs. 3 months back when I was moving my body against gravity at least 3 times per week.

I had to stop, twice, due to illness. I will be able to start back up soon. I am probably ready now, but for some reason have not. Talks with Rebecca Sacks reminds me of the empathetic angle; the reason I have not started back up is because it is daunting to start a movement routine, even for someone who enjoyed and understood all the benefits of such movements.

If it's hard for me, how difficult must it be for someone who has never connected with the movement of one's body?

Michael O'Malley

Michael O'Malley is an artist who concerns himself with the opportunity to foster a dialogue. He has been making pizza ovens on site across the country. 

His work is about creating experiences that foster discussion; getting people together to talk about the world. The difference between Michael and a baker is the baker wants you to buy the bread and Michael want you to come by and talk about it.

I admire Michael's work because he is concerned about empathy, agency and creating experiences.

Body 1

Derrick Adams

"Derrick Adams is a multidisciplinary New York-based artist with practices rooted in Deconstructivist philosophies" (Derrick's bio 1). Wikipedia describes Deconstuctivist architecture as "characterized by fragmentation, and interest in manipulating a structure's surface or skin, non-rectilinear shapes which appear to distort and dislocate elements of architecture, such as structure and envelope" (Deconstructivism 1). Deconstructivism's emergence in architecture is tied to two preceding forms of art, minimalism and cubism, "Analytical cubism has a sure effect on deconstructivism, as forms and content are dissected and viewed from different perspectives simultaneously" Deconstructivism 2. "The collage works on paper create minimal geometric constructions of angular figures that seemingly live both in a state of deconstruction at the same time as if in the process of being built" (Derrick bio 2).

HEAD #12 (floor plan), Mixed media collage on paper, 36 inches x 36 inches, 2012.

In Head #12 (floor plan) Derrick successfully manipulates depth, particularly how the surface of the figure is read. The darkest section lays directly against the lightest at the cheekbone, contradicting the way shadows naturally form. Head #12 (floor plan) seems unfinished in this respect, as if fragmented layers are coming through prematurely. "Architectural processes and their different presentation strategies are important in the work: footprints, floor plans, elevation sections, visual rendering and the constructed object, acts as various developmental states and approaches and serve as a comparative investigation into the physical construction of the figure" (Derrick's bio 3).

Derrick's "focus is on fragmentation and manipulation of structure and surface - exploring shape-shifting forces of popular culture and its counter balances in our lives" (Derrick's bio 4). Derrick's performative works shares these philosophies.

Ask The President, performance documentation, Adams’ Go Stand Next To The Mountain, The Kitchen,  NYC, 2012.

In Ask The President Adams's has brought to life a man who would normally be existing as a deceased president on U.S. notes. This is communicated simply enough by creating a cut-out in a large hundred-dollar bill wooden, sculptural object. Here he explores popular culture as he transforms into arguably the most powerful being on the planet.

What I can take away from Derrick Adams is his use of props. Adams's genius with theatrical objects is evident here as well,

Crossroads, Digital Photograph, edition of 5, 34 in. x 48 in., 2012.

Derrick Adams use of props is thought out and simple. Lessons are to be learned here.

John Cage's 4:33

John Cage was an American experimental composer. He famously had his ensemble play nothing. This piece, void of any musical instruments, is known as 4 minutes and 33 seconds. The audience is suppose to hear the environment as it is when the piece is being "performed."

This is performance art. Cage activated the audience and gave them a memorable experience that challenged one's notion of what a performance can be.

What I can appropriate from this?

My work with stasis has me standing still or "doing nothing," and an in-depth look at Cage's piece will take one's focus away from the orchestra altogether, shifting the focus to audience shared experience. This could prove important to master in my own work, because there may be times when I do not want myself to be the subject of the attention, and rather have the audience either knowingly or unbeknownst take center stage.