This work continues through the accompanying hash tags. Though there is humour in the use of appropriating text that was originally written by a certain individual in a specific context, this is a serious critical approach to (different meanings of) industry, language and physical positioning of idea in space.
The future is more of the same.
Absurdity only takes one generation to be normalized.
////R//////////////R////////////////////////R///// These are large scale works derived from a series of studio paintings //////////////////////R//////////////////////////
These paintings, for me, embody industrial repetition through the aid of machines. They are endless mazes, not a labyrinth leading to truth. The sun now never sets on Hardt and Negri’s Empire; sprawl is power and environmental catastrophe is ownership.
My first solo photography show opens this week in Ajijic, Mexico. I was lucky enough to be here for this historic village’s version of Mardi Gras.
Compositions exploring the dynamics of crowds in public spaces, centered on ceremony, has been an emerging interest for me. Formal issues relating to classical works, the sociological gaze within a post-colonial framework (in particular D.H. Lawrence’s problematic and revealing Mornings in Mexico) as well as critical interest of Mikhail Bakhtin’s Carnivalesque theories are reflected in this narrative.
If you happen to be in the mountains just south of Guadalajara stop on in and say hi.
Corsano is a New Genres Artist influenced by Los Angeles art practices now based in Toronto, Ontario. He works in a variety of media and his art writings and artist interviews were primarily published in artUS Magazine (LA).
Drawing inspiration from the “neo-conceptual” school enables Corsano to avoid being locked into any singular production mode. One notable series are his “Quick Draw” artist interviews that utilize Facebook’s IM Chat feature to record and document conversations with international artists (http://artpost-oc.blogspot.ca).
This is the fourth in a series of 11 artist interviews I conducted in 2014 titled “a new space; artists and social media”. You can learn more about this academic research project at http://artistsandsocialmedia.tumblr.com/
Lincoln is an experimental artist and educator whom I have been following on Tumblr for about four years. He is a well known artist using social media and his recommendations to me on who else to contact for this project proved invaluable. Lincoln is concerned with how we are dealing with, for the first time in history, such huge influxes of data due to online networks. He describes the information we have now as “atomized” and, as artists, we take this information and combine them in new and meaningful ways. His practice is to incorporate other artist’s blogs, as well as own content, into a series of “blogmix” videos. This process started when he started to sees “likes” as a run-off of content that he did not want to share as he would lose followers through the sheer amount of diversity of this content. He then realized there is many types of liking, and wondered what it would look like if one were to speed scroll through them. Citing the Structural Film movement of the 70s, Lincoln sees film montages as mirroring the moving images one after another we see in our daily lives online.
This is the third in a series of 11 artist interviews I conducted in 2014 titled “a new space; artists and social media”. You can learn more about this academic research project at http://artistsandsocialmedia.tumblr.com/http://www.bradphillips.ca Phillips is a visual artist based in Toronto, Canada. Noted for his presence on social media, Phillips participated in my project due to having “definite” opinions on other artists using social media. His presence is tied to his artistic process of documenting his own life autobiographically and problematizes it by manipulation. He presents an idea, a persona of a male artist that emphasizes the cliches and leaves out the “boring shit”.