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Quick and Dirty
The 'Quick and Dirty' exhibition was an early inward facing pop-up show at WCA, initiated and curated by Helen Dear and Constanza Marques Guedes. For someone like myself who had very limited experience actually participating in group contemporary art shows prior to the MFA, it was an incredibly helpful experience in how it demonstrated the potential for dialogues between diverse work in a space. Not only does the work change the space, and the space change the work, but the dynamics created between the work has a lot to be said for the success of any curation.
I ended up helping out with the installation of the show, which was the beginning of what has since been an interesting learning curve in the installing of various kinds of work in various environments.
Outside of paying more attention to curation, and beginning to take an interest in installation, 'Quick and Dirty' shone a light on the importance of collaboration, compromise, and the management of personalities for group shows. As emerging artists exhibition space - even within our own university - can be at a premium, and I believe that being able to negotiate the given space in creative and collaborative ways goes a long way.
Quick and Dirty
The 'Quick and Dirty' exhibition was an early inward facing pop-up show at WCA, initiated and curated by Helen Dear and Constanza Marques Guedes. For someone like myself who had very limited experience actually participating in group contemporary art shows prior to the MFA, it was an incredibly helpful experience in how it demonstrated the potential for dialogues between diverse work in a space. Not only does the work change the space, and the space change the work, but the dynamics created between the work has a lot to be said for the success of any curation.
I ended up helping out with the installation of the show, which was the beginning of what has since been an interesting learning curve in the installing of various kinds of work in various environments.
Outside of paying more attention to curation, and beginning to take an interest in installation, 'Quick and Dirty' shone a light on the importance of collaboration, compromise, and the management of personalities for group shows. As emerging artists exhibition space - even within our own university - can be at a premium, and I believe that being able to negotiate the given space in creative and collaborative ways goes a long way.
Arc
Arc
Arc
Coming into the MFA program I found myself very conflicted, and frankly frustrated, as to the direction I was taking with my work. My practice felt divided between a deep-seated - though largely unexplored - attachment to the process itself of drawing, and the socio-politically active side of my life that had yet to find much expression in my work.
In an attempt to resolve this divide I worked on a Hypermasculinity Series. In these works the aim was to communicate the point at which some men reach what seems like an apex in performed, clichéd masculinity that ends up becoming either 'toxic' or violently self-destructive. The glitch effect used in many of these drawings was included with the metaphor of 'heat death' in mind, whereby something evolves to a state of no thermodynamic free energy and can no longer sustain processes that increase entropy. While these works at the very least helped me to begin to re-think my practice, the results felt very limited in a consideration of the process of their making and in the feeling that the attachment to illustration was preceding the concept.
Following on from the first attempts, I began to reflect more on the process and labor of these concentrated drawing studies. Through tutorials I was given a vocabulary to verbalize and therefore focus on the notion of value in relation to labor of different kinds, and the value of the chosen subjects themselves. In many cases I gravitated towards conventionally 'low value' subjects, and treated them with an attention to detail and concentration normally reserved for more 'high value' subjects. Further, this was generally done with exclusively carbon-based, 'primitive' mediums.
Coupled with a growing fascination with Hito Steyerl's The Wretched of the Screen (more information to this point can be found in the 'Context' section), the next two works tried to logically follow on from the previous conversation about masculinity while also bringing the notion of value to the forefront. One, a charcoal rendering of an image of young Mike Tyson screenshot from a poor quality YouTube video, tried to incorporate a reading of Hito Steyerl's thoughts on the hierarchy of image quality in the digital world. The piece was done at a much larger scale (60 x 48 in) which satisfied a personal need for physicality in the process of drawing - a need which has since found some clarity in researching Matthew Barney's Drawing Restraint series. Simultaneously I was building a few rudimentary tattoo machines, using only elements that might be available to incarcerated prisoners, as an object-driven expression of economies of value. Further, these two pieces were an important step in opening myself up to an ethos of the 'concept driving the medium' as opposed to the reverse, something I have been guilty of for much of my artistic career.
Angela Davis, 1970.
Angela Davis
The life and work of Angela Davis has become relatively important to my work. Angela Davis is an American political activist, philosopher, academic and author, whose work revolves around issues of racism, feminism, economic inequality and the US prison system. Davis is also the founder of Critical Resistance, a national grassroots organization dedicated to the abolition of the prison system.
I was introduced to her work regarding abolition and the prison system in recent months and it has become a major point of reference in both my life and recent art.
"Mass incarceration is not a solution to unemployment, nor is it a solution to the vast array of social problems that are hidden away in a rapidly growing network of prisons and jails. However, the great majority of people have been tricked into believing in the efficacy of imprisonment, even though the historical record clearly demonstrates that prisons do not work." - Angela Davis, "Masked Racism: Reflections on the Prison Industrial Complex", 1998.
She argues that the US prison system more closely resembles slavery than it does a criminal justice system. According to Davis, “prisons relieve us of the responsibility of seriously engaging with the problems of our society, especially those produced by racism and increasingly global capitalism”. They serve as a device of racial segregation, aimed not at solving problems but at depoliticizing on and capitalizing from them. Her work closely follows the end of slavery in the US into the modern era, interrogating our modern ‘judicial’ institutions and their role in continuing, and in some cases further exacerbating, systems of inequality, violence and oppression.
Through her academic work and political activism, she urges people to ask: "What is effective or just about this 'justice' system?" This demand is a similar lens through which I am beginning to think about my own work - purely by value of socio-political efficacy - which can be seen in some elements of Lockdown Diary (in either the Arc or Degree Show sections) and in the most recent work related to the Black Lives Matter protests.
Davis, among other abolitionists, advocates for more 'transformative justice' approaches to solve various social problems, including education and the building of engaged, active communities.
“You have to act as if it were possible to radically transform the world. And you have to do it all the time.”
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