1. In Christoph Buchel's "Untitled," what was the purpose of making the rooms lifesize in some ways while also creating them to be minature so that the viewer was made to get on hands and knees to experience the work. Furthermore, what exactly does "Untitled" strive to evoke from the viewer and what is the overall goal of this piece?
2. Angela Bulloch's "Macro-World" looks exquisite from the photographs in the book and though we cannot imply this from the photo, the space is said to be interactive, with the viewer triggering movement in a massive pixel patterned wallfront. I really enjoy the use of not only the room but as well the color pallete expressed in the pixelated wallfront. The cieling adds an interesting, highly abstacted projection of the pixels. Personally, I wonder what sort of technology she uses to:
A. create the pixelated wallfront
B. to implement the interactive elements in the space
3. Carsten Nicolai and Marko Peljhan - "Polar" is a monitor station that processes information from human interaction in the space. It's aesthetic is futuristic with a pale gray color scheme running throughout the seemingly varied rooms. Projections on the walls, floors and video flood through TV Monitors are the means for the human to process the data it creates by being in the space. Again, I am interested in the technology used to create such a space and I also would like to find out more information regarding the philosophical ideas motivating the space.
Thursday, October 23, 2008
Juanita- 3 ?'s
1. When creating an installation, how are visual cues helpful in guiding the viewer?
2. Negative and positive interplay to create environment, how does physical position within a space effect the negative space ?
3. How does the layout of an installation effect the viewers perception of value and significance?
2. Negative and positive interplay to create environment, how does physical position within a space effect the negative space ?
3. How does the layout of an installation effect the viewers perception of value and significance?
Wednesday, October 22, 2008
three questions
1. How does Sissal Tolaas' piece It must be the weather, Part 1: Dirty1 engage the viewer? Were the scents extracted from the scents of the area allowed to be worn by the viewers like regular perfume?
2. What message was Framis' trying to give the audience by having them "partake of food in a highly designed environment" in his piece Blood Sushi Bar? The central message of this piece seems cloudy to me.
3. Would the piece Gluck be more effective if the viewer was actually allowed to live within the created environment? It seems to me that the artist is trying to draw parallels between humans and subjects of an experiment. How would it enrich the piece to have the viewer actually live within the experience?
2. What message was Framis' trying to give the audience by having them "partake of food in a highly designed environment" in his piece Blood Sushi Bar? The central message of this piece seems cloudy to me.
3. Would the piece Gluck be more effective if the viewer was actually allowed to live within the created environment? It seems to me that the artist is trying to draw parallels between humans and subjects of an experiment. How would it enrich the piece to have the viewer actually live within the experience?
three questions - chapter three
(one) can an installation count on human nature/tendencies to produce an interaction, therefore fulfilling the meaning of the installation? and how can this be done?
are there any limits?
(two) how does an installation trick a viewer into interacting with it? can it be disguised as a regular interaction, but also be seen as art as well?
(three) if the viewer plays a large role in the purpose of an installation, does it still have purpose without the viewer, without someone to interact with it?
are there any limits?
(two) how does an installation trick a viewer into interacting with it? can it be disguised as a regular interaction, but also be seen as art as well?
(three) if the viewer plays a large role in the purpose of an installation, does it still have purpose without the viewer, without someone to interact with it?
Chapter 3 3 Questions Amy Beth
Ch 3 Three Questions:
On the "is this art" topic, "N55 Hygiene Systeme Extended appears to be an extravagant Mcdonalds playplace. Does this make the Hygiene piece less of an art piece, or does it raise the playplace to art?
Massage Parlors truly DO pop up in unusual places, churches, community centers, the only thing that makes Happy Berlin Different it seems, is that it plays "The Mask of Zorro" - but does showcasing a popular movie (which isn't far fetched to image happening elsewhere) make this art? Or rather, art important enough to earn a place in this book?
Were the participants of uke-TEL aware that they were dropping pins on fish in the name of art? I know its very animal activisty of me, but since people create an uproar over dogs, cats and horses being harmed for art, I wonder if the artist just wanted to play with that line of where the ok and not ok is. And I wonder, when is it too much? When can we not hide behind art as an excuse for our behaviour?
On the "is this art" topic, "N55 Hygiene Systeme Extended appears to be an extravagant Mcdonalds playplace. Does this make the Hygiene piece less of an art piece, or does it raise the playplace to art?
Massage Parlors truly DO pop up in unusual places, churches, community centers, the only thing that makes Happy Berlin Different it seems, is that it plays "The Mask of Zorro" - but does showcasing a popular movie (which isn't far fetched to image happening elsewhere) make this art? Or rather, art important enough to earn a place in this book?
Were the participants of uke-TEL aware that they were dropping pins on fish in the name of art? I know its very animal activisty of me, but since people create an uproar over dogs, cats and horses being harmed for art, I wonder if the artist just wanted to play with that line of where the ok and not ok is. And I wonder, when is it too much? When can we not hide behind art as an excuse for our behaviour?
Tuesday, October 21, 2008
Yay Cookies!
Yay Cookies! stimulates the senses of sight and taste in a sneaky intervention to brighten your day. This piece is a site-specific social intervention inspired by the notion that sometimes we don’t want to go to class, but a shared plate of cookies is a welcome surprise that somehow makes the classroom experience a bit more pleasant. (This is not meant as a statement about Installation Art class by any means; rather, this stems from my current frustration with academia in general.)
By offering classmates a plate of fresh, homemade chocolate chip cookies, I am subtly infiltrating and shifting your in-class experience. In doing so, my intentions are to trigger your memory and make you happy. Chocolate chip cookies are an ideal medium for triggering memory because they are pervasive in domestic American culture, and therefore are often associated with childhood, family and home. These cookies also support the intention of making people happy because, simply, most people think they are yummy!
This project is influenced by the simple, deliberate pieces created by many members of Fluxus. Here are two examples by Albert M. Fine and Don Boyd, respectively:
Ice Cream Piece
Performer buys an ice cream cone and then [a] eats it, or [b] gives it to a stranger, or [c] waits until it melts completely, then eats the cone, or [d] on finishing the piece, buys another ice cream cone.
1966
A Performance Calendar (for El Djerrida)
For whom? Anyone.
When? Anytime.
JANUARY
Obey all laws 30 days. One day disobey one law.
FEBRUARY
Make a work with the fewest elements possible. One item?
MARCH
Watch the clouds on a sunny day for 10 minutes.
APRIL
Watch some kind of insect for 10 minutes.
MAY
Take a book and a pen. [An old-fashioned ink pen]. Sit in the woods for 30 minutes watching and listening. Write of what you see and feel and hear.
JUNE
Find a sheep. Watch it 30 minutes.
JULY
Find a wolf. Watch it 30 minutes.
AUGUST
Write a letter to the IRS [Internal Revenue Service or the equivalent income tax authority where you live], explaining how difficult it is to achieve lofty dryness.
SEPTEMBER
Make a list of your four favorite books. Send it to me.
OCTOBER
Make your favorite dish of food. Send me the recipe.
NOVEMBER
Go somewhere and watch it snow. Sit with a friend. Drink hot tea.
DECEMBER
Give something you treasure to another person
1989
As with Yay Cookies!, neither of these pieces necessarily deal with recontextualization, reappropriation, or a visible relationship between artist and viewer/audience. None of these works directly question or provoke. These works simply explore deliberate action, and though it isn't expressed explicitly, each piece also makes space for a reaction. With Yay Cookies!, I am similarly exploring a deliberate action: the simple act of baking and sharing cookies. And similarly, I am making space for people’s reactions; my hope, of course, is that they will all be positive.
Source:
Friedman, Ken, Owen Smith and Lauren Sawchyn. Fluxus Performance Workbook. Performance Research e-Publications, 2002. http://www.thing.net/~grist/ld/fluxusworkbook.pdf.
By offering classmates a plate of fresh, homemade chocolate chip cookies, I am subtly infiltrating and shifting your in-class experience. In doing so, my intentions are to trigger your memory and make you happy. Chocolate chip cookies are an ideal medium for triggering memory because they are pervasive in domestic American culture, and therefore are often associated with childhood, family and home. These cookies also support the intention of making people happy because, simply, most people think they are yummy!
This project is influenced by the simple, deliberate pieces created by many members of Fluxus. Here are two examples by Albert M. Fine and Don Boyd, respectively:
Ice Cream Piece
Performer buys an ice cream cone and then [a] eats it, or [b] gives it to a stranger, or [c] waits until it melts completely, then eats the cone, or [d] on finishing the piece, buys another ice cream cone.
1966
A Performance Calendar (for El Djerrida)
For whom? Anyone.
When? Anytime.
JANUARY
Obey all laws 30 days. One day disobey one law.
FEBRUARY
Make a work with the fewest elements possible. One item?
MARCH
Watch the clouds on a sunny day for 10 minutes.
APRIL
Watch some kind of insect for 10 minutes.
MAY
Take a book and a pen. [An old-fashioned ink pen]. Sit in the woods for 30 minutes watching and listening. Write of what you see and feel and hear.
JUNE
Find a sheep. Watch it 30 minutes.
JULY
Find a wolf. Watch it 30 minutes.
AUGUST
Write a letter to the IRS [Internal Revenue Service or the equivalent income tax authority where you live], explaining how difficult it is to achieve lofty dryness.
SEPTEMBER
Make a list of your four favorite books. Send it to me.
OCTOBER
Make your favorite dish of food. Send me the recipe.
NOVEMBER
Go somewhere and watch it snow. Sit with a friend. Drink hot tea.
DECEMBER
Give something you treasure to another person
1989
As with Yay Cookies!, neither of these pieces necessarily deal with recontextualization, reappropriation, or a visible relationship between artist and viewer/audience. None of these works directly question or provoke. These works simply explore deliberate action, and though it isn't expressed explicitly, each piece also makes space for a reaction. With Yay Cookies!, I am similarly exploring a deliberate action: the simple act of baking and sharing cookies. And similarly, I am making space for people’s reactions; my hope, of course, is that they will all be positive.
Source:
Friedman, Ken, Owen Smith and Lauren Sawchyn. Fluxus Performance Workbook. Performance Research e-Publications, 2002. http://www.thing.net/~grist/ld/fluxusworkbook.pdf.
Friday, October 17, 2008
Thursday, October 16, 2008
Amber 3 ?s
How can uncertainty and incompleteness be a catalyst for change in 21st century art as Cedric Price argues?
Is the Ilya Kabakov in this chapter the same collaborator from the abandoned schoolhouse in Marfa?
What is the significance of modifying the interior of a private clinic as Francoise Bassand has done here? What effect will a piece in a doctor's office have on the viewer vs. one in a sterile museum environment?
Is the Ilya Kabakov in this chapter the same collaborator from the abandoned schoolhouse in Marfa?
What is the significance of modifying the interior of a private clinic as Francoise Bassand has done here? What effect will a piece in a doctor's office have on the viewer vs. one in a sterile museum environment?
Wednesday, October 15, 2008
zacs ?'s
Is art in a taxi art?
how do people get known as installation artists. For instance, how would someone having a gallery in the back of their yard get them into this book?
If you do art in somehwere like a hospital, do you think artists who work in said spaces are more likely to make art about said spaces??
how do people get known as installation artists. For instance, how would someone having a gallery in the back of their yard get them into this book?
If you do art in somehwere like a hospital, do you think artists who work in said spaces are more likely to make art about said spaces??
Three Questions - Author & Institution
1. Is the photography of installation art an art that can stand alone or is it purely documentary? How can a photograph of an installation change your perceptions of the piece?
2. What category of art, if any, do "pre-documents" or preparatory drawings fall? Does the physical evidence for the planning of an installation piece carry the same underlying themes and ideas as the actual installation?
3. Is an installation piece more effective overall if it exists in a context that is separate from the traditional "art world"?
2. What category of art, if any, do "pre-documents" or preparatory drawings fall? Does the physical evidence for the planning of an installation piece carry the same underlying themes and ideas as the actual installation?
3. Is an installation piece more effective overall if it exists in a context that is separate from the traditional "art world"?
Tuesday, October 14, 2008
My sister's "baby shower" AmyBeth
Amy Beth Maran
Susan York
Installation Art
10/14/2008
Pepon Osorio’s use of everyday kitsch objects creates awe inspiring 3-dimensional and installation high art. Understanding and using kitsch has been an influence to my art. Latin American art is prevalent in New Mexico and the forms typically studied are Pre-Columbian artifacts and traditional arts such are pottery making and textile weaving. Osorio represents a modern group of artists that are using their heritage while pushing the boundaries of the art world as we know it.
Osorio delves into this the rarely acknowledged topic of kitsch art. As a Native Puerto Rican growing up in New York City, he associats certain cheap kitsch objects with his heritage. Visually he uses an, “overload of tchotchkas, plastic toys, Puerto Rican flags, tourist and religious kitsch items and products, “Made in Korea”.’ (Indych)
He visually overloads his viewers for many reasons. He is pointing out the high class/ low class dichotomy that translate into the art world. The low class – in this case New York Puerto Ricans, don’t have the elite influence to gain access to high art. Osorio is exaggerating and celebrating this marginalized “low” class culture by excessively using kitsch objects in his artwork.
Amongst Osorio’s culture, the fear of not having translates into surrounding one self with kitsch objects. For this culture, these objects are full of meaning. “To embellish to Puerto Ricans is to reinvent with what’s there…people living in deprivation comfort themselves with icons of richness, a metaphorical richness.” (Indych) Even if they can’t afford gold adornments, people use kitsch objects full of meaning and embellishment to celebrate their religion.
In Osorio’s pieces he takes these kitsch objects and turns them into legitimate high end art. He has always worked with a social meaning in mind to turn these plastic, Hong Kong, mass reproduced objects into one-of-a-kind meaningful and beautiful pieces.
Osorio’s work undeniably deals with his heritage. Living in New York as a Puerto Rican he has made works such as El Chandelier which encrusts a chandelier in plastic palm trees, plastic babies etc… He is not simply making a beautiful artwork he is making a statement about having and not having. Seeing people in his neighborhood with so little Osorio notes that these chandeliers, “Were self-fashioned creations of abundance in otherwise impoverished settings” (Indych).
Osorio’s installation pieces tend to be darker in subject and content then his objects. He creates intricate rooms for viewers to look through and make personal judgments, such as Scene of the Crime (Whose crime?) and Badge of Honor. The latter involves a running projection of a boy talking to his father in jail highlighting the effect that violence causes in the family. These pieces confront the viewer and our assumptions, forcing us to rethink our stereotypes we have of a “Puerto Rican” and of “Latin America.”
The idea of having and not having strongly connects me to Osorio’s work. The use of kitsch to make a larger statement appeals to me. While I am not Hispanic, I can associate being marginalized due to my own culture.
Being Jewish American undeniably creates certain obstacles. My generation and society have been diverse and accepting. I even feel a connection with our countries fore fathers, though I’ve been told “those men weren’t for me.” My comfort in this country doesn’t belittle the struggle of other Jewish Americans and I acknowledge the differences I have with my fellow classmates, co-workers, friends, and acquaintances.
Where I find Judaism and mainstream culture clashing the most is within personal family context. Not celebrating Christmas was difficult but not celebrating Halloween or Valentines Day to me was plain absurd (that only lasted a few years.) Living with “Jewish Law” in my family was more of a struggle between parent and child, trying to love our religious culture despite being saturating with popular culture.
I believe not having an object creates a type of yearning that goes beyond that physical object. In my case I yearn to have a baby shower for my sister. It is against my religion and forbidden in my family. Being told “no,” every piece of baby clothing, toy, book, and even wrapping paper almost brought me to tears. I wanted to touch these objects, purchase them, wrap them, and horde them. It was the way I could celebrate and prepare for such a momentous occasion.
For my installation I wanted to explore this feeling of why having a baby shower was so important to me, even when it was against my culture and family wishes. On a spree, I bought every baby shower tchotchka I could find. All the plastic babies, diaper pins, bottles, bears, and rubber duckies I could find. I bought pink places settings for this imaginary baby shower with baby images on the napkins and cups. I bought wrapping paper to wrap imaginary gifts for this fetishized baby shower.
Despite the visual overload, creating the installation was meditative for me. I placed every small knick knack carefully and decidedly throughout the piece. I wanted to create an overwhelming kitsch encrusted, over-the-top baby shower with string lights and piles of pink glitter. This party was set up on the floor in an enclosure obviously not meant to be used. In fact, it looks more like a window display then a party. I want the viewer to feel the static of the space as well as an invitation yet blockade to the party.
After setting up the party I realized that all these plastic objects were just that: plastic objects. I added “aged” Hebrew prayers to the cups to create a dichotomy between the plastic pink surroundings and my family’s deep traditional symbolism. While I chose no specific parsha (passage), the prayers are all relevant, as the entire Torah represents Jewish Law to my families tradition. On a personal level, my mother teaches the ancient skill of reading the torah, called trope . The passages all represent my connection to the faith, as my mother taught me and my fellow students to find relevant social meaning in each week's parsha. My art is very personal with both my family and religion and I am very specific with why I chose the objects that I chose. Despite my creation, I could not bring myself to purchase any real baby objects. No diapers, cribs, or even clothing. Every time I picked up a bib or baby dress I felt a sense of dread. In creating this piece I understood the difference between the unimportant and the importance of tradition. Osorio has spoke about creating art and the intimate relationship it creates with the community one is working with. “When making art in the community…students have to rethink the ethical issues, the relationship with the family” (Mesa-Bains). I believe there is a line of respect where I can contemplate with a critical eye my family and their beliefs without crossing that line to disregard their concerns and wishes. I am still learning where to draw this line but I do acknowledge its existence. The importance of not choosing objects is as important as choosing objects.
In the beginning of this project there was no difference between all the hoopla for the baby shower and the real needs for the arrival of the baby. I saw one as a means to the other. They both were part of an acknowledgement celebration. In creating this piece I discovered that the hoopla was kitsch and I could purge my desires without guilt. However, when I thought into why my culture truly doesn’t have baby showers, I couldn’t bring myself to buying baby clothing.
Osorio’s use of filling up spaces to avoid the feeling of not having was my creative departure for this piece. I wanted to take his method of working with his own culture’s kitsch to find what makes my culture unique and what objects represent our inner working. Dissecting and examining my religion, culture, and community has made me both question and respect certain assumptions I had previously taken for granted.
I hope to take the many tchotchkas from this piece and make a permanent sculpture installation for my niece’s room. To talk about this prematurely is perhaps still a cultural taboo, but now that I can tell the difference between meaningful and meaningless taboo I have confidence to continue my artwork.
WORK CITED
Indych, Anna. "Nuyorican Baroque: Pepon Osorio's Churerias." Art Journal. 2001. College Art Association. 12 Oct. 2008.
Mesa-Bains, Amelia, and Pepon Osorio. "The Practices and Pedagogy of Pepon Osorio." Reading Room. Oct. 2008. Communityartsnetwork. 12 Oct. 2008.
Susan York
Installation Art
10/14/2008
Pepon Osorio’s use of everyday kitsch objects creates awe inspiring 3-dimensional and installation high art. Understanding and using kitsch has been an influence to my art. Latin American art is prevalent in New Mexico and the forms typically studied are Pre-Columbian artifacts and traditional arts such are pottery making and textile weaving. Osorio represents a modern group of artists that are using their heritage while pushing the boundaries of the art world as we know it.
Osorio delves into this the rarely acknowledged topic of kitsch art. As a Native Puerto Rican growing up in New York City, he associats certain cheap kitsch objects with his heritage. Visually he uses an, “overload of tchotchkas, plastic toys, Puerto Rican flags, tourist and religious kitsch items and products, “Made in Korea”.’ (Indych)
He visually overloads his viewers for many reasons. He is pointing out the high class/ low class dichotomy that translate into the art world. The low class – in this case New York Puerto Ricans, don’t have the elite influence to gain access to high art. Osorio is exaggerating and celebrating this marginalized “low” class culture by excessively using kitsch objects in his artwork.
Amongst Osorio’s culture, the fear of not having translates into surrounding one self with kitsch objects. For this culture, these objects are full of meaning. “To embellish to Puerto Ricans is to reinvent with what’s there…people living in deprivation comfort themselves with icons of richness, a metaphorical richness.” (Indych) Even if they can’t afford gold adornments, people use kitsch objects full of meaning and embellishment to celebrate their religion.
In Osorio’s pieces he takes these kitsch objects and turns them into legitimate high end art. He has always worked with a social meaning in mind to turn these plastic, Hong Kong, mass reproduced objects into one-of-a-kind meaningful and beautiful pieces.
Osorio’s work undeniably deals with his heritage. Living in New York as a Puerto Rican he has made works such as El Chandelier which encrusts a chandelier in plastic palm trees, plastic babies etc… He is not simply making a beautiful artwork he is making a statement about having and not having. Seeing people in his neighborhood with so little Osorio notes that these chandeliers, “Were self-fashioned creations of abundance in otherwise impoverished settings” (Indych).
Osorio’s installation pieces tend to be darker in subject and content then his objects. He creates intricate rooms for viewers to look through and make personal judgments, such as Scene of the Crime (Whose crime?) and Badge of Honor. The latter involves a running projection of a boy talking to his father in jail highlighting the effect that violence causes in the family. These pieces confront the viewer and our assumptions, forcing us to rethink our stereotypes we have of a “Puerto Rican” and of “Latin America.”
The idea of having and not having strongly connects me to Osorio’s work. The use of kitsch to make a larger statement appeals to me. While I am not Hispanic, I can associate being marginalized due to my own culture.
Being Jewish American undeniably creates certain obstacles. My generation and society have been diverse and accepting. I even feel a connection with our countries fore fathers, though I’ve been told “those men weren’t for me.” My comfort in this country doesn’t belittle the struggle of other Jewish Americans and I acknowledge the differences I have with my fellow classmates, co-workers, friends, and acquaintances.
Where I find Judaism and mainstream culture clashing the most is within personal family context. Not celebrating Christmas was difficult but not celebrating Halloween or Valentines Day to me was plain absurd (that only lasted a few years.) Living with “Jewish Law” in my family was more of a struggle between parent and child, trying to love our religious culture despite being saturating with popular culture.
I believe not having an object creates a type of yearning that goes beyond that physical object. In my case I yearn to have a baby shower for my sister. It is against my religion and forbidden in my family. Being told “no,” every piece of baby clothing, toy, book, and even wrapping paper almost brought me to tears. I wanted to touch these objects, purchase them, wrap them, and horde them. It was the way I could celebrate and prepare for such a momentous occasion.
For my installation I wanted to explore this feeling of why having a baby shower was so important to me, even when it was against my culture and family wishes. On a spree, I bought every baby shower tchotchka I could find. All the plastic babies, diaper pins, bottles, bears, and rubber duckies I could find. I bought pink places settings for this imaginary baby shower with baby images on the napkins and cups. I bought wrapping paper to wrap imaginary gifts for this fetishized baby shower.
Despite the visual overload, creating the installation was meditative for me. I placed every small knick knack carefully and decidedly throughout the piece. I wanted to create an overwhelming kitsch encrusted, over-the-top baby shower with string lights and piles of pink glitter. This party was set up on the floor in an enclosure obviously not meant to be used. In fact, it looks more like a window display then a party. I want the viewer to feel the static of the space as well as an invitation yet blockade to the party.
After setting up the party I realized that all these plastic objects were just that: plastic objects. I added “aged” Hebrew prayers to the cups to create a dichotomy between the plastic pink surroundings and my family’s deep traditional symbolism. While I chose no specific parsha (passage), the prayers are all relevant, as the entire Torah represents Jewish Law to my families tradition. On a personal level, my mother teaches the ancient skill of reading the torah, called trope . The passages all represent my connection to the faith, as my mother taught me and my fellow students to find relevant social meaning in each week's parsha. My art is very personal with both my family and religion and I am very specific with why I chose the objects that I chose. Despite my creation, I could not bring myself to purchase any real baby objects. No diapers, cribs, or even clothing. Every time I picked up a bib or baby dress I felt a sense of dread. In creating this piece I understood the difference between the unimportant and the importance of tradition. Osorio has spoke about creating art and the intimate relationship it creates with the community one is working with. “When making art in the community…students have to rethink the ethical issues, the relationship with the family” (Mesa-Bains). I believe there is a line of respect where I can contemplate with a critical eye my family and their beliefs without crossing that line to disregard their concerns and wishes. I am still learning where to draw this line but I do acknowledge its existence. The importance of not choosing objects is as important as choosing objects.
In the beginning of this project there was no difference between all the hoopla for the baby shower and the real needs for the arrival of the baby. I saw one as a means to the other. They both were part of an acknowledgement celebration. In creating this piece I discovered that the hoopla was kitsch and I could purge my desires without guilt. However, when I thought into why my culture truly doesn’t have baby showers, I couldn’t bring myself to buying baby clothing.
Osorio’s use of filling up spaces to avoid the feeling of not having was my creative departure for this piece. I wanted to take his method of working with his own culture’s kitsch to find what makes my culture unique and what objects represent our inner working. Dissecting and examining my religion, culture, and community has made me both question and respect certain assumptions I had previously taken for granted.
I hope to take the many tchotchkas from this piece and make a permanent sculpture installation for my niece’s room. To talk about this prematurely is perhaps still a cultural taboo, but now that I can tell the difference between meaningful and meaningless taboo I have confidence to continue my artwork.
WORK CITED
Indych, Anna. "Nuyorican Baroque: Pepon Osorio's Churerias." Art Journal. 2001. College Art Association. 12 Oct. 2008
Mesa-Bains, Amelia, and Pepon Osorio. "The Practices and Pedagogy of Pepon Osorio." Reading Room. Oct. 2008. Communityartsnetwork. 12 Oct. 2008
Monday, October 13, 2008
Author & Institution: 3 Questions
1. How did the break from the gallery system come into being? Does it relate directly to the shift towards Installation art as a medium for artists?
comment: The art exhibitions in Marfa, TX were a good example of ways in which art displayed in a gallery setting could also compliment the landscape around it. I'm thinking about Judd's steel cubes, and how they interacted with both the gallery space and the architecture of the surrounding town. The work was not detached from the space it was in, although they could probably be just as effective in a completely different environment.
2. What are the advantages of doing work outside of the gallery as compared to doing work within the gallery? Does working within the system create a safer place for progressing artists? Is there more support? Is the work 'taken more seriously' in the gallery?
3. How do galleries re-act to artists whose work criticizes the gallery structure? Was this idea initially rejected by curators? Were they reluctant to show works within the gallery that utilize its space for ironic purposes?
comment: The art exhibitions in Marfa, TX were a good example of ways in which art displayed in a gallery setting could also compliment the landscape around it. I'm thinking about Judd's steel cubes, and how they interacted with both the gallery space and the architecture of the surrounding town. The work was not detached from the space it was in, although they could probably be just as effective in a completely different environment.
2. What are the advantages of doing work outside of the gallery as compared to doing work within the gallery? Does working within the system create a safer place for progressing artists? Is there more support? Is the work 'taken more seriously' in the gallery?
3. How do galleries re-act to artists whose work criticizes the gallery structure? Was this idea initially rejected by curators? Were they reluctant to show works within the gallery that utilize its space for ironic purposes?
Wednesday, October 8, 2008
Charlotticus
This performance/installation came about because of a man, who is lacking in the necessary skills involving boundaries, decided to tell me that I would “be bikini-ready if I just lost ten pounds.” Upon serving him his second beer, he gave a more descriptive analysis of the pitfalls of my body. In order to cleanse myself of this experience, I decided to do an installation in which I meticulously chronicled his words, as well as other voicing’s I have encountered in regards to my body (both good and bad).
I wanted to put myself on display, similar to an insect pinned to a wall. In using this scientific format, I was hoping to take an ironic approach in illustrating how I have retained a number of subjective comments as beacons of truth in my life. Being behind glass in that confined corner further added to the scrutiny I have felt from others in the past. The pins, though a little disturbing, emphasized how I have become emotionally scarred from a number of these interactions.
If I were to do the piece again, I would consider being nude, although I feel that it may disrupt the theme of universality that is very important in my works (even though they are always very personal). If I were to be nude, I would change the site to more of a lab-like setting with bright fluorescent lights, and make the scenery more important to the piece. It would probably become something entirely different.
Doing performances such as this, even with my minimal actions, is really very terrifying for me. I’m not sure if I want to explore that idea or not. I much appreciated the classes support and comments. The piece was maybe too personal for my level of comfort, but it showed that exploring these ideas in a classroom setting can be very helpful and safer than I may have imagined.
I wanted to put myself on display, similar to an insect pinned to a wall. In using this scientific format, I was hoping to take an ironic approach in illustrating how I have retained a number of subjective comments as beacons of truth in my life. Being behind glass in that confined corner further added to the scrutiny I have felt from others in the past. The pins, though a little disturbing, emphasized how I have become emotionally scarred from a number of these interactions.
If I were to do the piece again, I would consider being nude, although I feel that it may disrupt the theme of universality that is very important in my works (even though they are always very personal). If I were to be nude, I would change the site to more of a lab-like setting with bright fluorescent lights, and make the scenery more important to the piece. It would probably become something entirely different.
Doing performances such as this, even with my minimal actions, is really very terrifying for me. I’m not sure if I want to explore that idea or not. I much appreciated the classes support and comments. The piece was maybe too personal for my level of comfort, but it showed that exploring these ideas in a classroom setting can be very helpful and safer than I may have imagined.
Tuesday, October 7, 2008
Site Specific Installation
When we were given this assignment I knew that it would be very difficult for me to choose a location on campus. I feel like I have run out of fresh inspiring places on campus to work with, so when I became truly inspired to install my piece, I went for it. It is at my house because I could think of no better place to put my installation. In this assignment I am confronting a vast amount of intense emotions I have been feeling as a result of an event that happened in my home this past weekend that horrified me. My room mate was taken into custody by policemen this weekend for talking back to a cop that had entered our home without lawful consent. I have never felt so invaded by law enforcement officers before in my life. These people who were supposed to be protecting us had forced their way into my home without asking anyone who lived there and started terrorizing the place. I saw them physically break into my room mate's room, throw her to the ground for not letting them in and physically carry her to the squad car. when she put up a fight they beat her while people watched. The piece I did for this class directly confronts this event and all of the emotions I feel about the frustrations of being treated wrongfully by the people who protect us. I was reading in my abnormal psych class about how all humans have defense mechanisms to help us cope with difficult situations. One of these defense mechanisms is a barrier between reality and the self. I thought somehow by arming my house with a barrier of sorts would help me work out some of these emotional and financial crisis brought on by my situation. I suddenly feel extremely vulnerable in my safe place. So I set out to buy a 20 pound reel of barbed wire to rope my house off. I am a tiny person at 5'3'' and reeling a spiky 20 pound hunk of barbed wire around ones property was an extremely difficult yet therapeutic event. I think just the physical labor of installing this piece was the most cleansing for me. I sliced myself up pretty badly and ran into a cactus, but in the end the tears and labor really helped me to get a load off my mind. I felt sort of like I was a monk doing a walking meditation around a stupa, each time around things were a little more sorted out. Metaphorically, of course. To finish the piece I placed a doormat of nails as an unwelcome mat. The result was disturbing, yet comforting to me. Putting up a physical barrier to the world at one of my most vulnerable moments was a very helpful and beautiful process to me. This was a more successful piece to me in a emotionally charged area than the piece I was planning to do on campus. I felt I needed to deal with an issue I was dealing with in my life with this assignment and how more site specific can you get than a crime scene?
With Broken Wings
My installation is about negative space and the attempts made through memory and object to fill that space. Inspired by the Gutai group of the 1950’s my piece attempts to visually and literally demonstrate the act of holding on to a memory or object. “The process of damage or destruction is celebrated as a way of revealing the inner "life" of a given material or object…” (Gutai Manifesto).
The bird cage is traditionally a tool used for confinement. Here it is recycled into an art piece, where it is used to capture an object of recollection. My art piece intends to remind the viewer of memory and the ways in which we try to capture and hold on to it.
The bird cage is traditionally a tool used for confinement. Here it is recycled into an art piece, where it is used to capture an object of recollection. My art piece intends to remind the viewer of memory and the ways in which we try to capture and hold on to it.
Jared Antonio-Justo TrujilloR. Mutt
Toilet Tissue Holder, Vinyl Text
2008
For this particular installation I wanted to do a piece that paid homage to the great Marcel Duchamp. The piece i chose to do was directly related to his most famous piece, The Fountain, that he submitted to a show in 1917 as a joke. All he needed to do to meet the requirements, was a $100 dollars and a piece of art. So Marcel did just that, he submitted what he thought was a piece of art with his money under his alias R. Mutt, and changed the modern art world for ever. The piece he submitted was a store bought urinal, which was quickly rejected by the jury. The piece he "chose" would not meet the criteria of an authentic piece of art. But Duchamp knew all to well that, with the public display of The Fountain, he would be taking off a lid that was screwed on tightly, and there was never going to be the slightest possibility that it would be screwed down afterwards. Art has escaped, and was enveloping the world. To me his by far the most influential modern artist of are time. Modern art would not be where it is with out this piece.
So for this piece I wanted to blur the same lines Marcel did. I wanted to take an ordinary object and make it art. It is art Because i choose it. I am the reason it is art, I give it tis value. I took an article of life, placed it so its useful significance disappeared under the new title and point of view, which intern created a new thought for the object. For this piece thats exactly what i wanted to do and i believe I have succeeded. I also had audio playing back toilet bowls flushing which tied the piece together. In the future I plan to do more using the same ideals Marcel Duchamp did.
Zac scheinbaum
Shell
This piece explores the home life of myself. the things i have trouble doing(putting away my laundry, cleaning up...etc) So what i am doing here is highlighting the objects that torment me an putting them into a setting where, first of all they are in a school classroom, second they are things from my home life. i want to offset myself by doing this and make myself feel a sense of guilt and nervousness. I want to try and make the viewer feel like they have things around them, that they don't want to deal with. Its that feeling of, "man i really don't want to clean this fucking room right now..i guess i will just do it later." I want the viewer to see the piece and think about going home and organizing or cleaning something. I split the room into two, and half is organized. I am not sure if this is too literal, but we will see how it comes across in the mix.
I want to viewer to feel nostalgic and feel like they have sen this is their life many many times. they have sen it at other peoples houses they have seen it from their family, but i am not sure if they have seen it in a class room.
When reading the first chapter and moving along through the book, the idea of fabrics and clothes and different things as a form of hiding the body, or as Cristo does, hiding buildings. i think that clothes are the same type f thing except for the body. so by putting them into piles on the floor it takes them out of context and you can almost imagine a body naked or the conservative nature of clothes, and how the naked figure can make one uncomfortable. This piece sort of plays with all of these type of things. I am excited to see how it all shapes up.
Shell
This piece explores the home life of myself. the things i have trouble doing(putting away my laundry, cleaning up...etc) So what i am doing here is highlighting the objects that torment me an putting them into a setting where, first of all they are in a school classroom, second they are things from my home life. i want to offset myself by doing this and make myself feel a sense of guilt and nervousness. I want to try and make the viewer feel like they have things around them, that they don't want to deal with. Its that feeling of, "man i really don't want to clean this fucking room right now..i guess i will just do it later." I want the viewer to see the piece and think about going home and organizing or cleaning something. I split the room into two, and half is organized. I am not sure if this is too literal, but we will see how it comes across in the mix.
I want to viewer to feel nostalgic and feel like they have sen this is their life many many times. they have sen it at other peoples houses they have seen it from their family, but i am not sure if they have seen it in a class room.
When reading the first chapter and moving along through the book, the idea of fabrics and clothes and different things as a form of hiding the body, or as Cristo does, hiding buildings. i think that clothes are the same type f thing except for the body. so by putting them into piles on the floor it takes them out of context and you can almost imagine a body naked or the conservative nature of clothes, and how the naked figure can make one uncomfortable. This piece sort of plays with all of these type of things. I am excited to see how it all shapes up.
Monday, October 6, 2008
Amybeth Site Specific - revised
AmyBeth Maran - Pond by Library
Rainbow petal rock
"Rainbow petal rock" stemmed out of an idea inspired by Andy Goldsworthy. Goldsworthy often takes materials from nature such as leaves or flowers and restructures them in their own environment in an aestetic marvel.
The petals coloring are unique to the site of the school. Collecting them was an interactive experience for me. I noticed where the flower gardens were on campus, which were memorials, and how many shades of roses I could find. I was respectful of the gardens and memorials and felt like I was pruning. I left all the healthy roses on the bushes.
Using the site of the pond I caused passer goers a moment to pause and react at nature's spectrum. As I was creating the piece I heard everything from, "how pretty," to, "are you aware of the artwork on the Canary Islands?" (I am now).
Goldsworthy deserves extreme amount of respect for his patience and dedication to minute detail. I didn't want to feel like I was doing an, "art school rip-off" of his work, yet that was exactly how I felt it LOOKED like. Creating the work was an intense experience, and I became unaware of the many hours as they melted away. My work doesn't have nearly the visual awe that Goldsworthy has, nor does it have an extra piece that was solely "me." Goldsworthy did have this to say in his, "Passage" book regarding new materials, "I often find an idea by working with a material. The problem is that by the time the idea is found the materials are sometimes so changed that the idea can no longer be realised" (Goldsworthy, 134). My largest regret of working with the materials was that I couldn't go back and undo the delicate petals to videotape my process again.
Ideally I would have liked to incorporate the pond fish in with the project. Floating the fish in plastic cups, each "pod" would float around the bottom of the pond. To juxtaposition the caught fish with the expressive rock, I hoped the viewer would feel that the fish were blind from this beautiful creation that was right in front of them. The idea of enclosing fish into tiny spaces within a large space speaks to how humans have the entire world to roam, yet so very often we close ourselves up in our own tiny orbs, unable to truly interact or see life's beauty. Artists that create “pod” experiences such as Lee Bul influence me (De Oliveira, 55, 76). While this would not be an interactive experience to humans, we could view the fish experiencing the installation. I was disappointed that I was unable to catch any fish within my time frame and wonder if I was to do it again if I could purchase fish and later add them to the pond. I hope a time lapsed video of the roses drying up and floating away in the wind will appeal to the ephemeral aspect of the piece.
Goldsworthy, Andy. Passage. Danbury: Harry N. Abrams , Incorporated, 2004.
De Oliveira, Nicolas. Installation Art in the New Millennium : The Empire of the Senses. London: Thames & Hudson, 2004.
Rainbow petal rock
"Rainbow petal rock" stemmed out of an idea inspired by Andy Goldsworthy. Goldsworthy often takes materials from nature such as leaves or flowers and restructures them in their own environment in an aestetic marvel.
The petals coloring are unique to the site of the school. Collecting them was an interactive experience for me. I noticed where the flower gardens were on campus, which were memorials, and how many shades of roses I could find. I was respectful of the gardens and memorials and felt like I was pruning. I left all the healthy roses on the bushes.
Using the site of the pond I caused passer goers a moment to pause and react at nature's spectrum. As I was creating the piece I heard everything from, "how pretty," to, "are you aware of the artwork on the Canary Islands?" (I am now).
Goldsworthy deserves extreme amount of respect for his patience and dedication to minute detail. I didn't want to feel like I was doing an, "art school rip-off" of his work, yet that was exactly how I felt it LOOKED like. Creating the work was an intense experience, and I became unaware of the many hours as they melted away. My work doesn't have nearly the visual awe that Goldsworthy has, nor does it have an extra piece that was solely "me." Goldsworthy did have this to say in his, "Passage" book regarding new materials, "I often find an idea by working with a material. The problem is that by the time the idea is found the materials are sometimes so changed that the idea can no longer be realised" (Goldsworthy, 134). My largest regret of working with the materials was that I couldn't go back and undo the delicate petals to videotape my process again.
Ideally I would have liked to incorporate the pond fish in with the project. Floating the fish in plastic cups, each "pod" would float around the bottom of the pond. To juxtaposition the caught fish with the expressive rock, I hoped the viewer would feel that the fish were blind from this beautiful creation that was right in front of them. The idea of enclosing fish into tiny spaces within a large space speaks to how humans have the entire world to roam, yet so very often we close ourselves up in our own tiny orbs, unable to truly interact or see life's beauty. Artists that create “pod” experiences such as Lee Bul influence me (De Oliveira, 55, 76). While this would not be an interactive experience to humans, we could view the fish experiencing the installation. I was disappointed that I was unable to catch any fish within my time frame and wonder if I was to do it again if I could purchase fish and later add them to the pond. I hope a time lapsed video of the roses drying up and floating away in the wind will appeal to the ephemeral aspect of the piece.
Goldsworthy, Andy. Passage. Danbury: Harry N. Abrams , Incorporated, 2004.
De Oliveira, Nicolas. Installation Art in the New Millennium : The Empire of the Senses. London: Thames & Hudson, 2004.
Sunday, October 5, 2008
Light Installation
For the site specific project, I installed blue, purple, red and orange filter gels on 4 separate light entities located in the same space (directly behind Tipton hall, below the massive square light on top of the Visual Arts Building).
The space is normally lit with bland, white lighting. Upon transformation, the walls that the lights project on now become an aesthetically new enterprise. I was interested in this idea of transformation and how the projection of a space can be shifted based on simple enhancement of color to create an entirely new presence of an area. Furthermore, the work of Kazuo Katase (who is featured in our Installation Book) was a driving force behind playing with light and its context.
A single rose was placed in front of both the blue and purple projections. The rose in front of the blue light looked pale and cold while the rose in front of the purple projector appeared lively and plush. The purpose of the roses, in this sense, acts as symbols of my own personal emotional reality at the moment, where one half of my being feels lifeless and worn as the other half is experiencing a time of self-realization and growth. When I arrived in the morning to see if the wind had blown the gels off the lights, the gels had not moved but the roses were scattered far from where they originally lay which greatly excited me because I felt that this was an example of nature corroding human nature, a metaphor of sorts regarding the fragile web of the human existence and the sort of senselessness and impermanence of our reality in relation to the overwhelming power of nature.
Saturday, October 4, 2008
Thursday, October 2, 2008
PLEASE COMMENT!
I need ALL of your input:
Our last project is a collaborative one, and has a critique. As many of you know, my sister (the kosher wedding Becky sister) is pregnant and due Dec. 1st.
I want to be there more then anything. I have been thinking of creative alternatives and feel that you should all have a say if this is fair.
If I made another "home movie" (my sister's kosher birth) which I'm sure will be entertaining. I can involve an installation aspect to it. (is giving birth performance art?)
Please comment.
thank you all!
Our last project is a collaborative one, and has a critique. As many of you know, my sister (the kosher wedding Becky sister) is pregnant and due Dec. 1st.
I want to be there more then anything. I have been thinking of creative alternatives and feel that you should all have a say if this is fair.
If I made another "home movie" (my sister's kosher birth) which I'm sure will be entertaining. I can involve an installation aspect to it. (is giving birth performance art?)
Please comment.
thank you all!
5 Senses Installation
For my 5 senses installation I will be engaging touch and sight. It will deal with the audiences relationship to weaponry and hunting as sport in our society among other things. This may be an intense topic of discussion for some people, but I want reactions from the audience. This piece must be regarded as interactive. I will be setting up a target of an image of an animal that is hunted for sport for the audience to shoot with a BB gun. I want to explore the effect on the audience that simulated violence has. This is a simulated situation. There is no death, no real weapon, and no real animal. I want to see how different people react to this situation. If you do want to pick up the gun and shoot at the "animal", is there still a feeling of catharsis or reward here? If you do not want to shoot at the target, then what is your reasoning if there is no harm being done? Whether we like it or not, guns are a part of American society today and they are in issue that not many of us think too much on if we are not owners of a gun. I want to address this issue on a smaller scale. The senses being engaged in this situation are the feeling of the gun being fired and the sight of the illusion of prey. I want to use these senses to evoke strong feelings from the viewer whether they be anger, bliss, discomfort, or even hatred.
escape
Questions from "Escape"
1. Would we be able to pick up on the message of these pieces shown in the chapter if they had no title? I feel like the title is sometimes like the punch line of the piece. For example, Biefer/Zgraggen's piece entitled God. Would we know immediately that this piece is about a God-like entity without the explanation that the title gives away? Or do you think that it varies from piece to piece?
2. It seems that many of these artists create smaller "environments" encased in a pod, such as Absalon with his Cellule series or Lee Bul's Gravity Greater than Velocity II. Do you think that these are self contained and would not be influenced by the location they are in or do you think that they can have other meanings projected on them due to the environment around the cell or pod? For example, would it matter if the karaoke booth was in a church?
3. Why do you think that Julian Opie's piece Imagine that you are moving was put on display to only travelers who were making connections for international flight? Is it because they are making a transition between spaces?
1. Would we be able to pick up on the message of these pieces shown in the chapter if they had no title? I feel like the title is sometimes like the punch line of the piece. For example, Biefer/Zgraggen's piece entitled God. Would we know immediately that this piece is about a God-like entity without the explanation that the title gives away? Or do you think that it varies from piece to piece?
2. It seems that many of these artists create smaller "environments" encased in a pod, such as Absalon with his Cellule series or Lee Bul's Gravity Greater than Velocity II. Do you think that these are self contained and would not be influenced by the location they are in or do you think that they can have other meanings projected on them due to the environment around the cell or pod? For example, would it matter if the karaoke booth was in a church?
3. Why do you think that Julian Opie's piece Imagine that you are moving was put on display to only travelers who were making connections for international flight? Is it because they are making a transition between spaces?
Wednesday, October 1, 2008
glee tree
i'm happy to say all the candy, save for a hand full of lollies, was gone within 12 hours.
the intention for the installation was achieved and very satisfying.
thanks for enjoying.
pictures from my 5 senses installation
loacated on a tree near St. Mike's hall
on the grassy grassy quad
the intention for the installation was achieved and very satisfying.
thanks for enjoying.
pictures from my 5 senses installation
loacated on a tree near St. Mike's hall
on the grassy grassy quad
three questions
(one)
in Yayoi Kusama's 'dots obsession' what was the intended feeling/atmosphere/presence trying to be achieved with the use of the random amorphous shapes placed in the room? would the ____ change if the shapes were a larger or smaller size, or not there at all?
this installation really intrigued me, please offer feed back..
(two)
is an installation artist a control artist, and how if so?
(three)
what is the intention of installation art and does it vary from artist to artist?
in Yayoi Kusama's 'dots obsession' what was the intended feeling/atmosphere/presence trying to be achieved with the use of the random amorphous shapes placed in the room? would the ____ change if the shapes were a larger or smaller size, or not there at all?
this installation really intrigued me, please offer feed back..
(two)
is an installation artist a control artist, and how if so?
(three)
what is the intention of installation art and does it vary from artist to artist?
3 Questions - Escape (Spencer)
1. In Kazuo katase's "winterreise" what is the point of lighting the room with such an intense blue? What is the goal of putting a geometrical shape in the space and why would a swing occupy the space? The entire makeup of the space is weird because the ideas of childhood innocence and adult abstraction run perpendicular to each other in the same space.
2. Is the goal of installation art to be as dynamic a mechanism of expression as possible? I t seems that there are many different takes and creative outlets presented by a cast of different artists that all fall under the category of installation art. Could we justify anything that happens in this world as a performance or installation piece? Are apples in a cafeteria not installation into the space, is writing works to paper not a performance in itself and who really cares about what the exterior viewer thinks of your work?
3. Diller and Scofidio "Blur Building." What is the point of creating a cloud of mist that covers an object or space that the viewer wishes to get to ? Is this some sort of philosophical questioning of the human beings inability to see clearly into the future?
2. Is the goal of installation art to be as dynamic a mechanism of expression as possible? I t seems that there are many different takes and creative outlets presented by a cast of different artists that all fall under the category of installation art. Could we justify anything that happens in this world as a performance or installation piece? Are apples in a cafeteria not installation into the space, is writing works to paper not a performance in itself and who really cares about what the exterior viewer thinks of your work?
3. Diller and Scofidio "Blur Building." What is the point of creating a cloud of mist that covers an object or space that the viewer wishes to get to ? Is this some sort of philosophical questioning of the human beings inability to see clearly into the future?
Chapter One, Three Questions (AmyBeth)
Questions for Chapter One:
1) Do other people have trouble reading the book when you know you need to be looking for questions? I found myself skimming sections I felt I "understood" and art pieces that weren't questionable enough - where had I not felt pressured to come up with questions I would have enjoyed. This isn't something I am looking to have changed but something I want to know how other people deal with (if they indeed are having a difficulty with it)
Onto relevant questions:
2) Polaria by Bruce Gilchrist and Jo Joeelson used scientific technology as its basis. What differs this from an amplified science fair project? There are many amazing scientific feats out there - does the simple fact of taking them to the general public make them art?
3) When the author refers to Louise Sedell's Ascensor Negro as a "magic trick," does it downplay moral and ethical responsibilities? Afterall, psychological experiments would not be allowed to perform this "trick" on the same willing and unknowing participants.
and because my first question isn't very relevant, I agree, how can a city be a non-place? The argument made is abstract at best and seems to define a futuristic city rather then the ones we actually have today.
1) Do other people have trouble reading the book when you know you need to be looking for questions? I found myself skimming sections I felt I "understood" and art pieces that weren't questionable enough - where had I not felt pressured to come up with questions I would have enjoyed. This isn't something I am looking to have changed but something I want to know how other people deal with (if they indeed are having a difficulty with it)
Onto relevant questions:
2) Polaria by Bruce Gilchrist and Jo Joeelson used scientific technology as its basis. What differs this from an amplified science fair project? There are many amazing scientific feats out there - does the simple fact of taking them to the general public make them art?
3) When the author refers to Louise Sedell's Ascensor Negro as a "magic trick," does it downplay moral and ethical responsibilities? Afterall, psychological experiments would not be allowed to perform this "trick" on the same willing and unknowing participants.
and because my first question isn't very relevant, I agree, how can a city be a non-place? The argument made is abstract at best and seems to define a futuristic city rather then the ones we actually have today.
My Sister's Kosher Wedding (AmyBeth)
I could only load the first video (the second may have been too long for blog to handle). Enjoy the dysfunctional, cringe-fest.
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