For my Daughter
For my Daughter
For my Daughter
How a trip to the Emergency Room with your 4 year old child becomes a point of departure for a photographic, digital art based series
How often do we find compelling interest in a barren landscape which presents us with perhaps a few trees, a running stream of water, mountains in the background, and a sky (which rally’s in hue modulation at the horizon line which is often obscured by the landscape itself) enough to represent the visage via readymade tubes of paint, brushes, and canvas?
The answer should be in the quantifier of ZERO, NEVER, NOT SINCE 1909 (unless we are re-invested in finding oral histories that have been shifted to the margins … yes we still have margins and no I will not discuss the implications of this for time sake) .
The discourse to support such answers are held within the qualifier of the break with Modernism, the fleetingly unstable Post Modernism, and the move toward what I am phrasing as the Pre-Second Renaissance.
Without entering into the entire debate, and standing with the assumption that the reader understands what kinds of computerized devices are carried by, or at least available to, nearly all humans in the world today. The cameras on our hand-held phones, along with the dozens of applications spitting algorithmic chaos in syncopated harmonies to alter and extend the visual photographic medium has surpassed our age old impaired lingual skills (or viral disabilities depending on what circles one subscribes to). Investigating the pulse of the three dimensional world thru this combination of form re-representers often fills what once was benign with a multitude of identifying signification, such that the eye of the audience has become perhaps more pliable, forgiving, and passive in its efforts to censor that which is pre-deliniated outside the realm of taste; the great variable in the algebra of successful art. Yet with less time to be all of that and more, we seem to be managing “pixel-time” with the great hashtag and are compelled endlessly.
Ryan Sloan, #transcendentalaccidentalism
GUITARDED LANDSCAPE SERIES
Man Ray has been a vital piece of the bigger picture of contemporary culture as we still know it all these years later.
I have always marveled at the provoking black & white exposures, as he seems to be the only one of his era who was taking issues brought forth by Walter Benjamin’s “Art in the Age of Mechanical Reproduction” and turning It all on its ass with one of a kind exposures.
Of course this is not the main implication of WB’s essay, nor is it all that factual, since the end result has given in to what the theory of the text shouts in agony – as we have the ability to view any piece of art or hear most any piece of music these days thru ever stronger interpolation algorithms.
I often sit with my box of B/W postcards (which I have never used) that were given to me by a friend who was on a lecture schedule on the other side of the country. Tristan Tzara, Nancy Cunard, Paul Eluard, Max Ernst, Marcel Duchamp, and of course the famous Violon D’Ingres, etc are all within the form or context of the images, but my favorite would be the careful detail of the ‘primitive’ Bronislava Nijinska with all of her fervent static charm of a pseudo ethnicity – shocked in awe of a mechanical device pointed at her confused visage, pointed teeth emitting from a painted-open over-sized mouth.
Originally posted on Grigiabot:
Juliet in stocking mask 1945
Man Ray https://theartstack.com/artist/man-ray/juliet-stocking-mask-1
EVERYWHERE WE SEE AN OLD BRAND OF NEW ‘FAD ART’ that goes by the name of teh “GLITCH”
When this obsession for the nostalgia of the broken frame, the V-Hold adjustment that was always something to be frustrated about – NOT celebrated and mass-produced on a Walter Benjamin Essay’s possible connection. The first time I saw #glitchart on the caliber of the exemplary, it was on Twitter @PadrickBentley … I really couldn’t believe what I was seeing. But I still needed more answers as such large questions loomed over the implications and layers of form and content. When I asked Padrick about an image; whether it was a glitch or not, his answer was odd and brought me to a more comfortable place to decide what a glitch really was and what cultural impact it was conveying or having upon the social conscious of the world.His observation was that the image in question was ‘Subjective’, so yes, indeed it was a glitch. Somewhat broad of a qualifier, but as I soon found out – not really.
Well, whatever – go look at Padrick Bentley’s work on Twitter, then take a look at my new found #transcendentalaccidentalism discovery … which brought many new hashtags along with it
that’s all you hear about children. stupid.
then you have a child and s(he grows up too fast. BABY & A Progressive Guitar Loop w/BOSS DD20