A Resource for Performing Artists, Scholars and Audiences.
I hurt a friend this week, and have decided to try to make amends to those my big mouth has hurt in the past 3 years by being silent for 2 hours. I think this should be early. Like 6am. When the day is fresh. Dawn. Sunrise. When the day is filled, once more, with possibilities. The Egyptian Sun Goddess, Nut, used to swallow the sun every evening, digest it through the night, and give birth to the sun once again each morning.
If Jeff Jarvis’ book Public Parts and Mary Kelly’s Postpartum Document collided at a busy Midtown Manhattan intersection, would the resulting mashup be Public Documents?
In this virtual performance I enter an empty gallery, stage, or public space that is bare, save for a single pedestal with 100 documents on it. My own birth certificate. My marriage license. My daughter's birth certificate. All of it. After a time I take the first sheet, crumple it into a loose ball, and drop it to the floor. Repeat. Repeat. Repeat. Eventually “public documents” are scattered throughout the space of the gallery and the visitors who occupy it. I exit.
Full text: http://vaneeesa.com/2012/03/13/previz-60/
CYBERSPACE, 11 March – in a world of 7 billion souls, is it reasonable, is it possible at all, to expect to have “unique” ideas? To be “creative?” When the Art History PhD’s helming MOMA or the Tate or the global culture institution of your choice “reblog” 20th centuriers like Jackson Pollock or 21st centurions like Mike Kelley, the trough they semi-communally feed at may be a different one than the trough of internet memes that peeps like Tumblr users reblog from, yet aren’t prestigious museum curators and ordinary public Tumblrers each reblogging from their own parallel troughs?
From CAA Panels in Los Angeles on Saturday:
Maureen Connor and Ed Woodham