Art
I am earning 2 art credits this year. They consist of:
Developing Craft
As a creator I have been developing my unique style of performance, which asks the audience to be 100% engaged with the work, with my serving as a conduit for the actions of any given piece to be communicated through.
As a performer I have been working with intense bookwork. For The Spitfire Grill I have watched almost 10 hours of documentary to inform my understanding of the world the character lives in. I am working on being transformative within my body, to the point where I hope to be unrecognisable from my normal self.
As a viewer I learn more about art than from anywhere else. Being on the outside allows me to question how things happen, and their purpose. I am able to identify what I like to see in art, and this helps me decide what I want to include and create in new works.
In writing a new manifesto I have clarified many of my definitions of art. And as an artist who deals primarily in ideas before materiels this clarification has helped make my views of what the purpose of my art is, as well as the vocabulary I use to interact with it.
While writing the manifesto Sayward and I had a conversation about how it seemed as though language was important to my understanding of art, without the ability to label a thing as art it cannot become it.
In writing this narrative I have become expressly aware that I now treat everything I care about as art. I have identified my work, and in doing so I have expanded my craft to fully include my life.
Performing, Presenting, Producing
I performed/presented work many times this semester:
This list is specifically of organised events, in my day-to-day I present work in the Pilot, at independant learning meetings, etc.
I am producing constantly, but not in an immediately reviewable way, because I have embraced the concept of LIFE AS PERFORMANCE everything I do I classify as art. So in terms of tangible product I produce much less. My two big projects, LIFE AS PERFORMANCE and Lear, won’t have final products till second semester, so my smaller projects (A Body, A Body, Boundless Manifesto, etc) and my preliminary materials for Lear and LAP are what I have to show.
Connecting
LIFE AS PERFORMANCE is all connections, my life is the work, and the work is my life. It is perpetual, and there are many ways you can draw it all together. This is also not a new idea, the art group Situationist International dealt with it a points, as well as artists like Bernadette Mayer. In my learning plan I write: “How has LIFE AS PERFORMANCE been explored by others in the past?” It is a perpetual process of connecting the world I observe around me with the world I observe within me, and documenting my experience.
See Connections (page 3)
Responding
When I visited NYC this September I saw a ton of art with my father. We had discussions about it of course, but they are undocumented, as I find it intrusive to my thought process to start recording during a conversation, I did however reflect briefly upon it in my blog post when I returned home. In truth, my blog is where I do almost all of my reflection these days, you can find discussion of the book Grief is the Thing with Feathers as well. Much of my personal writing on LIFE AS PERFORMANCE can stand as reflection as well:
“...then I thought about how because I was thinking about writing it later now I would be much more likely to actually write it later...”
-From LIFE AS PERFORMANCE
Responding is by far where I do the least recorded work. While in my day-to-day life I discuss art at length with the people around me, be it a particular work, or just theory.
It is easiest to talk about the fact that I consume a lot of film and television and have many opinions about it. I discuss these opinions with the people I see the works with, or who have also watched them - often Orlando Grant. Orlando is an interesting case subject because we are nowhere near each other geographically right now, so when we are talking about films chances are we did not seem them together, and each had time to form our own distinct opinions. When you watch a movie with someone else and talk about it immediately after you tune to each other, and come up with a joint opinion, where you might agree with each other more than you disagree. This doesn’t happen for Orlando and I. We often have opinions that are in direct conflict, which creates a really great environment for good response, articulating my points, and working to understand his.
- LIFE AS PERFORMANCE
- King Lear
- A Body, A Body
- Boundless Manifesto
- Boundless (radio)
- Other artworks I create
Developing Craft
As a creator I have been developing my unique style of performance, which asks the audience to be 100% engaged with the work, with my serving as a conduit for the actions of any given piece to be communicated through.
As a performer I have been working with intense bookwork. For The Spitfire Grill I have watched almost 10 hours of documentary to inform my understanding of the world the character lives in. I am working on being transformative within my body, to the point where I hope to be unrecognisable from my normal self.
As a viewer I learn more about art than from anywhere else. Being on the outside allows me to question how things happen, and their purpose. I am able to identify what I like to see in art, and this helps me decide what I want to include and create in new works.
In writing a new manifesto I have clarified many of my definitions of art. And as an artist who deals primarily in ideas before materiels this clarification has helped make my views of what the purpose of my art is, as well as the vocabulary I use to interact with it.
While writing the manifesto Sayward and I had a conversation about how it seemed as though language was important to my understanding of art, without the ability to label a thing as art it cannot become it.
In writing this narrative I have become expressly aware that I now treat everything I care about as art. I have identified my work, and in doing so I have expanded my craft to fully include my life.
Performing, Presenting, Producing
I performed/presented work many times this semester:
- VDA Members Conference
- The Spitfire Grill
- A Midsummer Night’s Dream
- The Anatomy of Transformation
- Illuminations: A performance party
- Artsbash!
- Chad Hollister’s Spruce Peak Show
This list is specifically of organised events, in my day-to-day I present work in the Pilot, at independant learning meetings, etc.
I am producing constantly, but not in an immediately reviewable way, because I have embraced the concept of LIFE AS PERFORMANCE everything I do I classify as art. So in terms of tangible product I produce much less. My two big projects, LIFE AS PERFORMANCE and Lear, won’t have final products till second semester, so my smaller projects (A Body, A Body, Boundless Manifesto, etc) and my preliminary materials for Lear and LAP are what I have to show.
Connecting
LIFE AS PERFORMANCE is all connections, my life is the work, and the work is my life. It is perpetual, and there are many ways you can draw it all together. This is also not a new idea, the art group Situationist International dealt with it a points, as well as artists like Bernadette Mayer. In my learning plan I write: “How has LIFE AS PERFORMANCE been explored by others in the past?” It is a perpetual process of connecting the world I observe around me with the world I observe within me, and documenting my experience.
See Connections (page 3)
Responding
When I visited NYC this September I saw a ton of art with my father. We had discussions about it of course, but they are undocumented, as I find it intrusive to my thought process to start recording during a conversation, I did however reflect briefly upon it in my blog post when I returned home. In truth, my blog is where I do almost all of my reflection these days, you can find discussion of the book Grief is the Thing with Feathers as well. Much of my personal writing on LIFE AS PERFORMANCE can stand as reflection as well:
“...then I thought about how because I was thinking about writing it later now I would be much more likely to actually write it later...”
-From LIFE AS PERFORMANCE
Responding is by far where I do the least recorded work. While in my day-to-day life I discuss art at length with the people around me, be it a particular work, or just theory.
It is easiest to talk about the fact that I consume a lot of film and television and have many opinions about it. I discuss these opinions with the people I see the works with, or who have also watched them - often Orlando Grant. Orlando is an interesting case subject because we are nowhere near each other geographically right now, so when we are talking about films chances are we did not seem them together, and each had time to form our own distinct opinions. When you watch a movie with someone else and talk about it immediately after you tune to each other, and come up with a joint opinion, where you might agree with each other more than you disagree. This doesn’t happen for Orlando and I. We often have opinions that are in direct conflict, which creates a really great environment for good response, articulating my points, and working to understand his.
QUARTER 1
I am earning 2 art credits this year. They consist of:
Developing Craft
This quarter I have attended the VDA members conference and spend a day and a half working with established artists in workshops and in the development of new work. I served as creator, performer, and viewer, learning from each in different ways.
As a creator I have been developing my unique style of performance, which asks the audience to be 100% engaged with the work, with my serving as a conduit for the actions of any given piece to be communicated through.
As a performer I have been working with intense bookwork. For The Spitfire Grill I have watched almost 10 hours of documentary to inform my understanding of the world the character lives in. I am working on being transformative within my body, to the point where I hope to be unrecognisable from my normal self.
As a viewer I learn more about art than from anywhere else. Being on the outside allows me to question how things happen, and their purpose. I am able to identify what I like to see in art, and this helps me decide what I want to include and create in new works.
Performing, Presenting, Producing
This year is not one for creating many works for me. In the end I will have created two large works. That being said I have performed a few times this quarter, at the VDA conference, and at Happening at a Tea Party. Both have been discussed previously, but they both fall as things that happened but were not developed at length.
I also did a durational performance/conversation with Karli on October 1st. We improvised and talked, on the VCFA green. While it was unpolished we were dancing in a public space with makes in intrinsically a performance.
Connecting
LIFE AS PERFORMANCE is all conections, my life is the work, and the work is my life. It is perpetual, and there are many ways you can draw it all together. This is also not a new idea, the art group Situationist International dealt with it a points, as well as artists like Bernadette Mayer. In my learning plan I write: “How has LIFE AS PERFORMANCE been explored by others in the past?” It is a perpetual process of connecting the world I observe around me with the world I observe within me, and documenting my experience.
Responding
When I visited NYC this September I saw a ton of art with my father. We had discussions about it of course, but they are undocumented, as I find it intrusive to my thought process to start recording during a conversation, I did however reflect briefly upon it in my blog post when I returned home. In truth, my blog is where I do almost all of my reflection these days, you can find discussion of the book Grief is the Thing with Feathers as well. Much of my personal writing on LIFE AS PERFORMANCE can stand as reflection as well:
“...then I thought about how because I was thinking about writing it later now I would be much more likely to actually write it later...”
-From LIFE AS PERFORMANCE
I am earning 2 art credits this year. They consist of:
- LIFE AS PERFORMANCE
- King Lear
- Other artworks I create
Developing Craft
This quarter I have attended the VDA members conference and spend a day and a half working with established artists in workshops and in the development of new work. I served as creator, performer, and viewer, learning from each in different ways.
As a creator I have been developing my unique style of performance, which asks the audience to be 100% engaged with the work, with my serving as a conduit for the actions of any given piece to be communicated through.
As a performer I have been working with intense bookwork. For The Spitfire Grill I have watched almost 10 hours of documentary to inform my understanding of the world the character lives in. I am working on being transformative within my body, to the point where I hope to be unrecognisable from my normal self.
As a viewer I learn more about art than from anywhere else. Being on the outside allows me to question how things happen, and their purpose. I am able to identify what I like to see in art, and this helps me decide what I want to include and create in new works.
Performing, Presenting, Producing
This year is not one for creating many works for me. In the end I will have created two large works. That being said I have performed a few times this quarter, at the VDA conference, and at Happening at a Tea Party. Both have been discussed previously, but they both fall as things that happened but were not developed at length.
I also did a durational performance/conversation with Karli on October 1st. We improvised and talked, on the VCFA green. While it was unpolished we were dancing in a public space with makes in intrinsically a performance.
Connecting
LIFE AS PERFORMANCE is all conections, my life is the work, and the work is my life. It is perpetual, and there are many ways you can draw it all together. This is also not a new idea, the art group Situationist International dealt with it a points, as well as artists like Bernadette Mayer. In my learning plan I write: “How has LIFE AS PERFORMANCE been explored by others in the past?” It is a perpetual process of connecting the world I observe around me with the world I observe within me, and documenting my experience.
Responding
When I visited NYC this September I saw a ton of art with my father. We had discussions about it of course, but they are undocumented, as I find it intrusive to my thought process to start recording during a conversation, I did however reflect briefly upon it in my blog post when I returned home. In truth, my blog is where I do almost all of my reflection these days, you can find discussion of the book Grief is the Thing with Feathers as well. Much of my personal writing on LIFE AS PERFORMANCE can stand as reflection as well:
“...then I thought about how because I was thinking about writing it later now I would be much more likely to actually write it later...”
-From LIFE AS PERFORMANCE
Small Art
Of course King Lear and LIFE AS PERFORMANCE are not all that I am working on, small art projects have occurred.
This sections covers work such as the sticky note I stuck to the pilot window when a bird struck it and left some feathers behind which read: I remember, once, in my childhood, a bird struck the window and left a chip. We buried the bird, but the chip is still there. How did these feathers get here? And the photo series I took documenting my eating a graham cracker covered perfectly in peanut butter. It also covers things that have influenced my work this quarter, but are uncategorizable, such as the VDA conference where I created a participatory/experiential dance piece, and performed in work by others. Work like these will continue to manifest in my life, but often remain undeveloped beyond their first incarnation. Maybe that will be explored more deeply later in the year or my life, but for now they are just outlets for my creativity when I feel inspired to create them. |