I will be leading a workshop for the series DRAW@MOCA organized by Angus Galloway at the Museum of Contemporary Art, Georgia. This particular workshop I am leading in the series is titled “The Mark as Movement: Bodily Approaches to Mark-Making.”
My statement for the workshop: What is a line? How do we make it? In what dimension does it live? Using the body’s movement and radio transmission as material for creating lines, we will explore the paths our bodies create as they move through the generally invisible and immaterial electromagnetic spectrum that surrounds us.
It should be fun!
Video documentation of baby’s first ice cream performed on October 27, 2013 at MINT gallery in Atlanta, GA is now up on vimeo. Sound is a remix of Jeff Kolar’s Ice Cream Truck Songs.
Also, finally, video documentation of ray welcomes again performed on June 28, 2013 at Eyedrum for the exhibition Im/Permanence. Sound is mine.
I will be presenting photographic, video, and performance work in the exhibition Im/Permanence at eyedrum’s new space in the FUSE Arts Center located in the historic M Rich Building this upcoming Friday. It’s eyedrum’s first gallery show in a while in a new space and there are also going to be other music/sound performances, so be sure to come and check it out!
6pm – 10pm
115 Martin Luther King Drive, Atlanta, GA
We are inheritors of the past–our own past, others’ past: their language, their thoughts. Works presented inIm/Permanence, including his/my/your app/rehension/erception/ropriation #1 and #2 (2011), he (the poet) marks me (2011), and ray welcomes again (2012-13), explore meaning veiled in processes of succession, of coming after an other. Three mediums – photography, video, and audio with performance – express distance felt and imagined in the process of inheriting. Together, the works constitute a visual, auditory, and physical examination into remainders: remnants that are allowed to remain, remnants that dissipate. These remainders, or reminders, render us acutely aware of what disappeared and our propagation from our past into the present moment. However, the relationship between the residue of the past and the act of its dissipation draws up an essential fear that situates us at the threshold of disappearance and the unknown. Attention to dissipation indicates an anxiety about forgetting and an attempt to grasp firmly onto a presentist notion of our self. As an assemblage, all works cast unforeseen modes of navigation and perception of space in the physical present, causing us to question: from what present point does inheritance take hold?
eyedrum Exhibition Statement:
Im/Permanence is a concrete human challenge, but it is also a conceptual, social and personal component of what it means to be a living organism, by definition continuously both in flux and in stasis. Eyedrum’s Im/Permanence program of events offers artists opportunities to engage in conversation about the symbols, artistic and linguistic, that illuminate this conflict. How do we talk about it with ourselves and with others? Is it possible to connect with and convey experiences of permanence and impermanence directly, without communicative symbols? Is death actually a grin reaper, and are we just too nervous to notice? In what ways do change and intransience bind us to time and/or free us from it? How do we engage, resist, disclose, discount, accept, recoil from the im/permanence that defines and dominates nearly every aspect of our reality?
Finally posted “documentation” of the performance I did at the High Museum of Art last November 2012. Documentation in this case consists of a score and a low-quality image. Visit the page under the Projects tab, or, simply, click here.
I just uploaded video and photographs from my recent performance with Justin Andrews, towards the side exposed to wind i place a hawk, that took place at The Goat Farm Arts Center in conjunction with Deke Weaver‘s Other Animals. To check it out, click here.
I recently started writing for the arts blog Bad at Sports that’s based in Chicago. My first article, “Watching Touch,” looks at the Atlanta-based Full Radius Dance, which is a physically-integrated dance company, meaning the dancers have a range of abilities. This article coincides with my more recent growing commitment to dance and movement-based performance work. These interests have created profound shifts in my dissertation work – it’s looking different every single week…
A few end of the year updates…
Here is the link to the interview with me on BURNAWAY about the paper I gave at its End of Days Secret Supper this past November. Paper title: “The Zombie: A Post-Human, Becoming-Undead Flâneur?” Here’s an image from the spooky dinner in Oakland Cemetary!
Also, the essay I wrote a couple of years ago “Pictures of Health, Pictures of Illness” about the Visible Human Project and British photographer Jo Spence has finally been published! It’s in the volume Theorizing Visual Studies: Writing Through the Discipline (Routledge, 2012) edited by James Elkins, Kristi McGuire, Maureen Burns, Alicia Chester, and Joel Kuennen. The collection brings together over sixty essays that invoke images to summon, interpret, and argue with visual studies and its neighboring fields such as art history, media studies, visual anthropology, critical theory, cultural studies, and aesthetics.
I’m still waiting on images from my performance at the High, new descendent on escaleer, no, too, so hopefully I will be posting those soon.
Also, a poem of mine, r = 1, was published in Ctrl+P, an online arts journal this past September in Vol. 17. Check it out!
Happy New Year’s! On to 2013…