December 11, 2007
A visual application of Mitchell’s Reconfigured Eye as a commentary on American values.
November 14, 2007
an artistic response on the potentiality of the internet as a tool for murder.
October 10, 2007
A program I wrote with Processing.
Use the keyboard, mouse + mouse click. Make some magic.
April 21, 2007
Jillian McDonald can be best described as a fanatic–or a fake. Possibly both. In her most famous work Me and Billy Bob, Jillian explores the phenomenon of celebrity crushes. She describes the project as a commentary on social behavior and the relationship that exists, or fails to exist, between a overly-faithful fan and their celebrity crush. The process involved inserting herself into Billy Bob movies in the place of the heroine as well as “tattooing” her body with Billy Bob’s name. What began as a fake fanaticism turned into a valid obsession. She mentioned the fact that she may have become victim to mere exposure effect by listening, seeing and “interacting” with Billy Bob on a daily basis while working on the project.
In addition to her celebrity addiction, she also displayed a extensive curiosity in zombies. Her zombie projects seem to carry less direct social commentary than Me and Billy Bob but it seems as though part of it has to do with the social construction of beauty. This idea comes through strongly in her performance piece Horror Make-Up in which she spends a subway trip through New York turning herself into a zombie. The implications and irony of this piece are clear–instead of making herself up, she’s deliberately attempting to make herself unattractive. She also mentioned the interest in the way women use a public space, such as a subway, for such personal acts as putting on makeup.
In all of Jillian’s work, there seems to be a strong connection between her art and the viewer. Likewise, most of her topics focus on relationships–as seen in Me and Billy Bob. The most interesting part of Jillian’s work is the mediums she explores. Her art is exploring the boundaries between the gallery realm and the digital/internet realm. While placing art on the internet could be seen as a means of degradation, her topics are form-fitted for the audience the internet yields. Overall, Jillian McDonald can easily be seen as a progressive artist picking very unique topics for her art and making use of alternate ways of exhibiting her work.
March 5, 2007
MTAA is the brainchild of M. River & T. Whid. They started out their artistic career by taking on the challenge of selling a piece of internet art. At the time, in 1997, it was quite an accomplishment. Since then, they’ve expanded their repertoire to galleries and museums. As a whole, their work focuses on interaction between a piece of art and the viewer.
In their self proclaimed “best work” titled 1 Year Performance Video, the duo streamed an online video of themselves in a small living space and, with the help of digital technology, made it appear as if the feed was live. The interaction part occurs when the viewer logs on and starts watching. Each second that passes is recording time–which seems to be at the root of the artist’s intentions for the piece. Viewers who have watched the video continuously for one year are rewarded with seeing their name plastered all over the “Top Viewers” section of MTAA’s website.
In addition to minimalistic efforts like 1 Year Performance Video, MTAA also produces more entertaining art like Karaoke Death Match where M.River and T.Whid go head to head in 60 rounds of karaoke. There’s only one question that remains for me: Is the Karaoke Death Match more of a challenge to produce, or to watch?
Overall MTAA has a nice little niche carved out for them in the performance art/digital art world. They presented some unique ideas and seem to be at their peak in terms of artistic output. Their style is obscure and somewhat under the radar but it’s something that’s hard to ignore. Check it out for yourself: MTAA.
February 11, 2007
Watch the unbecoming transformation of an innocent manatee into a gluttonous, lustful, greedy, wrathful, vain, envious sea cow. I should warn you, it gets pretty ugly.
With such immoral tendencies, you’ve gotta wonder who actually wants to save these corrupt creatures.