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Art Services (WASTE), 2007
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Live performance documentation
Performance duration: 5 days, 3hrs/day
Location: Art galleries & the surrounding streets
2007
Description: Taking cues from Richard Florida's paper, There Goes the Neighborhood: How and Why Bohemians, Artists, and Gays Effect Regional Housing Values, and Andrea Fraser's writing on her Servicescollaboration with Helmut Draxler, this performance considers the role of Art in gentrification, and the relationship of artists as service providers to commercial galleries and the public.
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Recognition, 2007
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Live performance documentation
Performance duration: 1hr
Location: VIP opening night of an international art fair
2007
Description: With Recognition I exaggerated the entertainment value of performance art by staging a Hollywood-style affair that and challenged the concept of liveness in technology and performance. For this $100 ticket VIP opening night of an art fair, I fabricated green-screened videos of six personas based on stereotypes of female celebrity artists and used these in the live event to create frame breaks throughout. The presenter persona initially held the power in the situation, but eventually resigned control to the video feed, placing her at the same level of interaction as the audience; the virtual, pre-recorded bodies underscored the critique of performance art as entertainment and the powerless presenter mimicked the condition of the performance artist as beholden to the interests of the audience and larger art world.
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ReDO IT, 2007
additional info
Live performance documentation
Performance duration: 2hrs
Location: Artist studio and art gallery
2008
Description: In ReDO IT, I represented the collapse of traditional art production and distribution methods by performing on audience command via Twitter and webcam, directly from my studio and into the exhibition space. Locating the artist/audience interaction in virtual space allowed the audience to voluntarily transgress the "fourth wall," and assume a role in breaking down the traditional alienation of artistic authority. The activities of production, as well as the course of the performance, were shifted to the audience, thereby reconsidering the concept of authorship in Hans Ulrich Obrist's Do It. Production and consumption became a single experience, and the role of the artist as service provider to the demands of the audience and art market was exposed.
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No. 179 (Action Painting), 2009
additional info
Video performance installation
Duration: 3:36min (looped)
Excerpt: 00:34min
2009
Description: A playful match between the history of Performance Art and Abstract Expressionism, and the subsequent layers of interpretation that frame the meaning of gesture.
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other people's footage from some exhibitions + performances:
Monuments of Future Nostalgia at the "Creative Briefs" event for the new Arlington cultural center, 2009
No. 179 (Action Painting) in "VIDEYO!" @ The New Wilmington Art Association, 2009
ReDO IT in "Unlimited Edition" @ The Arlington Arts Center, 2008
The Do Nothing Machine in "Mind Over Manner" @ The Bronx River Art Center, 2007