Question: Tell me about “Fresno”
Fresno is my birthplace, I spent six years photographing my strange hometown. The Result: a disturbing, often humorous, and consistently poignant insider’s view of a post-suburban American badlands.
Question: Tell me about “The Study of Aloneness”
In series of photographs called The Study of Aloneness, photographs are arranged into small series. Each series is an unconventional visual journal depicting what aloneness looks like and shows what it’s like to have a relationship with the self. Each series touches upon the elation and freedoms as well as the struggles in having to face oneself when experiencing aloneness.
When aloneness and renunciation is accomplished, identity no longer matters. Within each series, the stripping down of identity is depicted so that the imagery gives way to being universal. In each study, the subject gets closer to becoming no one, which is sequentially the most relieving condition of being alone. The deeper into aloneness one goes ultimately paves the way of losing and unraveling the false identity created over a lifetime. The minimal and simplistic compositions support the idea of forced self-awareness and challenges, the behavioral patterns of avoiding oneself through external distractions.
Question: Tell me about “Tush Hog’s”
It is speculated that a Donald Judd sculpture escaped from the Chinati foundation. Without curators and conservators to care for it, the lonely sculpture eventually crossbreeds with a deer feeder in the nearby rural landscape. Their offspring are “Tush Hogs”. This breed of feral sculpture retains some Minimalist traits, but also functions as a wild game feeder that dispenses corn/feed to wild animals when it is rolled or jostled. The Tush Hogs quickly adapted a more rugged diamond-plated armor and more muscular stature to endure the attacks bywild hogs, deer, rams, critics, and locals looking for some casual target practice.
Question tell me about “THEM F*CKIN’ ROBOTS”
“THEM F*CKIN’ ROBOTS” is a documentary about Norman White, one of the most influential media artists in his field. He produced humorous and beautiful work, but also trained hundreds of artists at the Ontario College of Art and Design to make their own, hands-on media art from 1976 onwards. This is on of the reasons a vast number of acclaimed media artists come from Canada. However, media-art does not cover the realm of White’s work: he produced a large oeuvre, from paintings to light murals to interactive robotics. Ine Poppe and Sam Nemeth filmed White and his students: they visited him in his huge watermill in Ontario and followed him and his students at work.
It took Poppe and Nemeth 5 years to finish Them F*ckin’ Robots. This had several reasons: it was hard to obtain material of the early works of White (video was still a ‘new’ medium) but moreover was it hard to fund a film about media art. In the contemporary cultural climate in the Netherlands no art- or film fund dared to take the risk of financing a documentary about media art, also because the film is about a ‘foreign’ artist. This reflects thematically in the film. The question wheather or not media art has a place in the mainstream art world is adressed as well as why it took Norman White such a long time -he started in the 1960-ies with electronic art- to get recognition. The film contains material from the 70-ies, 80-ies, 90-ies, 00-ies and original footage of the of the White family shot in the 40-ies,50-ies and 60-ies.
The screening of “THEM F*CKIN’ ROBOTS” takes place March 23, 2012, from 7-10 PM. Email firstname.lastname@example.org.
THEM F*CKIN’ ROBOTS
March 23, 2012
The Active Space
566 Johnson Avenue
Brooklyn, NY 11237