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 No. 179 (Action Painting), 2009 additional info Video performance installation Video 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. |
 ReDO IT, 2008 additional info Live performance documentation Performance duration: 2hrs Location: Artist studio and art gallery Excerpt: 1:05min 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. |
 Art Services (WASTE), 2007 additional info Live performance documentation Performance duration: 5 days, 3hrs/day Location: Art galleries & the surrounding streets Excerpt: 1:21min 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. |
 Recognition, 2007 additional info Live performance documentation Performance duration: 1hr Location: VIP opening night of an international art fair Video Duration: 29:00min Excerpt: 2:53min 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. |
 Return, 2006-2007 additional info Video performance Video Duration: 3:17min Excerpt: 2:00min 2006-2007 Description: Return is concerned with contemporary constructions of spiritually ("post-New Age"), and the methods by which humans today appropriate spirituality and religious "sound bites" to make decisions and justify behavior, often with global consequence. The performance video explores themes of persecution, justice, faith, presence/absence, death/renewal, and a return to the unknown. A treadmill is used to ironically mirror the iconic Catholic tale of "walking on water," while invoking a literal metaphor of going somewhere but nowhere, yet, transport (in a metaphysical sense) seems possible. The music is Peter Gabriel's song "Open," from the soundtrack to The Last Temptation of Christ (slightly slowed down to match the pace of walking backwards on the lowest possible setting of the treadmill), applied to the video as an acoustic rendering of the performance's conceptual intent. |
 DELIVERABLES, 2006 additional info Video performance Video Duration: 5:32min Excerpt: 2:10min 2006 Description: Taking cues from Erving Goffman’s text, The Presentation of Self in Everyday Life (1959), that established a critical framework for analyzing process and meaning in mundane social interactions, Deliverables, addresses the language with which the performance of the self is evaluated and measured in the art and business worlds. Both of these social and economic spheres engage the term “performance” as a means by which to measure an individual’s quantity and quality of output (or, work products) and expression. Delivered in the style of a corporate management training video, the performance/video appropriates text from a collection of performance measurements entitled, Perfect Phrases for Setting Performance Goals (Douglas Max & Robert Bacal, 2004). These phrases are presented as silent film-style intertitles, and are interspersed between scenes of balloons gathered at a conference room table. Following a performance cue, each balloon appears anthropomorphized as it lifts off and rises up out of the frame, a metaphor for how individual and group power dynamics are established through wordless interaction. |
 Resolve, 2005 additional info Video performance Video Duration: 11:59min Excerpt: 00:40min 2005 Description: Habits pattern day-to-day existence. In time habits can become rituals, platforms for meditation, reflection, release. To perform each routine requires endurance and determined self-awareness. With every repetition is the struggle of negotiating opportunity. The horizon is always the horizon. Individual conceptions of futility determine the length of a tether. The video recording of the performance includes the sound of the ocean layered with a looped portion of audio taken from Gavin Bryars' "The Sinking of the Titanic." The song is a rendition of "Autumn," the song claimed to be heard by survivors of the Titanic, played by the orchestra as the ship made its descent. |
 Empty Pockets, 2004 additional info Live performance video documentation, including 24.9 lbs of pennies collected from friends' change jars and various stores' "take a penny, leave a penny" containers Performance duration: 2hrs Location: Art Basel Miami Beach Video Duration: 2:17min Excerpt: 00:51min 2004 Description: I walked through the convention center, wearing a pair of old jeans with a hole in the right front pocket. I filled the pocket with pennies, and as I walked, they slipped out of the pocket, through the hole, scattering throughout the Art Basel Miami Beach Art Fair. |
other people's footage from some exhibitions + performances:
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