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20 matchs for cubicle:
Thanks to ArtCal for the nice advance listing on the "Blog" opening tonight. I will be there and plan to do some "live posting." As explained in this earlier thread on the methodology of the piece:
I see this performance as a lot like the cubicle group show I was in, where I sat in the cube and worked at the computer in my business casual attire: on the opening night, but also during "office hours"--in other words, every day the space was open I came in and worked. The unrented office where that show was held had no net connection and I was channeling "my working conditions circa '95" so I posted about it during non office hours. For BLOG I will also be working during gallery hours, but from home--the posting will be the work, not about the work. (Or both, if I'm feeling "meta.")As for the "how do you sell this?" question:
[...]
I'm going to be performing with changing content, graphics, etc. Not really any different from what I normally do but with an awareness of a specific, physical audience, what will work on the gallery's screen, how to explain to a reader not physically in the gallery what I'm doing and why.
Also I will post any documentation the gallery sends me of how the blog screen appeared on a given day, whether or not anyone looked at it, etc. The gallery will also save each day's posts as documentation.
[T]his'll be structured as a "classic" economic exchange. An agreed amount of funds for an editioned disc with the data for the show (html files for each day's posts plus associated files--images, etc.) and a certificate authenticating the work and the size of the edition.Also, besides the edition, the "terminal" (pedestal/keyboard stand, gear) will be offered as a stand alone work, with the month's posts and associated files burned on a dedicated hard drive.
As for the press release's statement, "For the first time a blog is shown in a gallery space," commenters in the thread mentioned some possible precedents but no serious documentation was put forward of a previous, month long performance work called "Blog." As stated in the thread, I'm open to having a "beef" with anyone on this issue. On some level mine is a protest piece: that blogging has made no serious inroads into the rigid gallery/museum/art mag system of evaluating art and must be physically present in a gallery to have "cred." But it is also the second generation of "net art"--a much more casual and un-self conscious use of available technology as a content delivery system. It may seem paradoxical to say a blog bearing the artist's name is un-self conscious but the scope of this blog has always been bigger than talking about my cat (if I had one). Commenters keep the place lively and interesting, for me and I think others.
MSPaintbrush in the news again...
It began in a lonely office cubicle in White Plains, NY...long weekends of overtime...a man had a vision that this lowly program could be used to make art...the vision spread...
Yeah, yeah, just BS'ing around. Thanks again to Paul and Lauren for making this show in Dallas happen and for making it so fun to do. I learned a lot working with them, and look forward to continuing collaborations and projects in cyberspace and elsewhere.
Nancy Smith has posted a selection of her photos of the Art@!)Work show on her site artloversnewyork. That's the group-show-in-a-cube-farm where I kept "office hours" over several weeks in May. The top shot is me drawing and "drinking the Koolaid" at the opening, looking happier than any man in a cubicle has a right to be. Several people pointed out that my Wacom tablet--discreetly in shadow in the photo--wasn't "period" if I was truly trying to channel my art-at-work life circa 1995. I know, I know. But there were other discrepancies, the main one being I never tacked up anything visual in the cube in '95. It was all hidden.
My cubicle yesterday, the last day of the ART@><*WORK show (click image for slightly enlarged view). I like the contrast between my "dude holdin' it all in" style and Erika Somogyi & Evan Greenfield's rather more expanded field behind. Below: detail of my workspace. Bear in mind it was a performance piece--this is just scenery for me sitting there for 44 hours being the office dork I am in my other life. Thanks to those who came out to witness this--your interest and support is greatly appreciated!
A few more installation shots from the ART@><*WORK (cubicle) show, in addition to my earlier ones and the ones Chris Ashley took. Top to bottom: Tony Luib's tribute to latex office supplies, including an abundance of what I call thumb condoms (used for flipping pages); an assortment of Michelle Rosenberg's "office supplies converted to bellows" (squeeze them and weird game calls inside squawk and chirp); Irene Moon's entomology thesis photos (excuse my lame reflection in the shot).
And lastly, a view out the window of 520 8th Avenue, Suite 1602.
Did these two drawings my last day of work, which was today. More documentation photos of the cubicle and surroundings are coming. Like, wow.
Couple smooching on xerox machine glass - drawn freehand in my cubicle today - the original image I eyeballed was a takeaway xerox print from Erika Somogyi & Evan Greenfield's cube (next to mine in the ART^!*@#WORK show).
More "live drawing" done in my cubicle earlier today.
Not drawn in my cubicle. I did this at home (reposted earlier today with changes). Update: revised yet again and reposted.
More wormy art drawn in my cubicle (today).
Drawn at "work" in my cubicle Tuesday and today. I didn't feel like doing portraits, I felt like doing wormy, noodly things.
Some good photos from the ART@><*WORK show* taken by Chris Ashley, who was in town from the West Coast to be on the Blogging & the Arts Panel at the New Museum. Top to bottom: (1) dude working hard in foreground cubicle with details from Erika Somogyi/Evan Greenfield cube behind, (2) Elana Langer's work area, (3) Douglas Repetto/LoVid's cube, (4) Langer deals with falling Irene Moons, (5) Brian Alfred--the whole array including the tools is made out of Color Aid paper, (6) Cat Mazza's cube. I like the way Ashley just plunged in there with his digital camera, nailed the spirit of the show, and had it all up on his weblog the next day (with accompanying text). This should be the model for art writing/reportage: artist with camera and clue documents on the fly as opposed to waiting around for some old-media wizard to dignify your show in print months after the fact. (A concomitant aspect being that you would then link to said reportage on your "hompy"--what they call homepages in Korea--as opposed to whining that you never get ink, which would have the side benefit of increasing the standing of the artist/documenter and eventuallly breaking the deadly cult of stultified expertise that ruled art in the last century.)
*Update, 2011: The Rhizome link has been changed to http://rhizome.org/editorial/2005/may/18/how-to-succeed-in-the-arts-by-really-trying/
Portrait of the late Steven Parrino, based on an artnet photo by Nancy Smith. Drawn in my cubicle Sunday and Tuesday.
Clocked in a solid six hours working in my cubicle today. Did this drawing, Chloe Stage Two (previously described here and slightly reduced in size for the blog), and another one I hope to wrap up on Tuesday.
UPDATE: I knew I was going to do this. I got up this morning and started tweaking this drawing. Above is the current state.
SCREENFULL is lending a thoughtful hand helping me to put up new drawings in my cube and/or has hijacked my current exhibition space. Thanks, guys.
UPDATE: That's some pretty seamless photoshoppery they're doing. If they decide to turn to the dark side (corporate media) they could be rich and live in that cube thing they're building down on the Lower East side! My own skills don't include being able to turn imagery on a plane so that it's seen at various perspective angles. It's the reverse process of the technology used to "rectify" the Pollock photos so that Pepe Karmel could divine their ultimate secret: that underneath all that messy abstraction lay the all important HUMAN FIGURE!
(Edited slightly). Thanks to everyone who came to the opening of ART)@*!(WORK. The group show takes place in an office cube farm on the 16th floor of a building at 520 8th Avenue (between 36th and 37th). I carried out my plan which was to sit in a cubicle drawing pictures on the computer and shooting the shit with people. Neither the cube ambience nor the business casual attire was particularly ironic in my case--it's pretty much how I dress and live, now, but especially in 1995-2000, the time period in my working life I was "channeling" in the performance by using an old computer, Windows 98, and MSPaintbrush as my main drawing tool. I did a rendering of Chloe Sevigny based on an artnet photo by Nancy Smith I downloaded earlier in the day (at home), got panicky that the drawing looked like garbage, saved it and started making spheres. About a half hour later I booted it back up and found it was a passable likeness! so I kept it on the screen. The picture still needs work but I have 42 more hours to sit in the space, so this shouldn't be a problem. Expect also some photos and commentary on some other artists' work in the coming weeks. (Another slight update: I'm the only artist in the show treating this like a residency and working in the space full time after the opening. A few others are popping in for a bit of a temp work.)
Around 8:00 pm Irene Moon did a live performance on the theme of social and antisocial insects (more specifically the scientific paper "Building Web-Based Interactive Keys to the Hymenopteran Families and Superfamilies" from Moon's work life as an entomology grad student) with electronic music, video, shoutouts to E.O. Wilson, and one major costume change from weird Bee-Woman zombie tourguide to southern-accented "Pleasant Planarian." "Fly Me to the Moon" was rendered in a well, drone, interlaced with factoids about insect eating and mating habits. At the end of the gig, everyone in the hive rubbed their forelimbs together and buzzed appreciatively. (Photo of Irene Moon from the Carbon Records website.)
j asked if I was going to do sound-related work in connection with my upcoming performance piece of sitting in an office cubicle making art for
Yesterday one of the organizers politely but nervously asked me if I still have an, um, job these days. The answer is yes! Where I work now isn't so physically different from this "art project" and my past jobs; it is more demanding, though. We could talk about it, but let's just say blogging about my perma (as opposed to permatemp) gigs is not part of my long-term survival plan as an artist. (But
My cubicle for the ART*%@((WORK show described below. The moire pattern on the chair isn't me being deliberately psychedelic--it's a "digital camera error."
Opening in a few days is a show I'm in called "ART)@*!WORK" (the characters vary each time it's typed), taking place in a 16th floor office suite at 8th Ave and 36th Street. Artists in this group exhibition will do installations, etc., in the cubicles of this formica-heavy unrented space. The last tenant sold mobile phones or something (still checking on that--it wasn't what I originally posted). Here's how I'm describing my piece:
Tom Moody, "Office Reality: Channeling My Art Life from 1995-2000," performance work, 2005. Moody will keep "office hours" while the exhibition is open (Tues 9-5; Sun. 12-6 from May 10 to 31), and will sit and draw on an old computer. Portraits, abstract art, and tasteless cartoon imagery will be pinned up in his cubicle as he works. All will be drawn using MSPaintbrush (precursor to Microsoft Paint); Moody's attire will be "business casual."I should have photos of my "work space" up soon. Here's a summary of the press release:
ART*!(%WORK, 520 Eighth Avenue Between 36th and 37th Street. Suite 1602; opening reception with live performance by Irene Moon May 10 2005 7-9 p.m; regular "office" hours: Tuesdays 9-5 and Sundays 12-6
May 2005, New York City—Ignivomous, a non-profit arts organization dedicated to nurturing and developing new genres, art forms and mediums presents ART!@*<>WORK, an art exhibition exploring the tension between the art of doing work and the work of doing art.
This show will take place in the cubicles of a midtown Manhattan office space. Fifteen artists will transform and exhibit projects inspired by the act of doing work and the spaces created for working. Visitors will be invited to explore and interact with the space during "office hours."
ARTISTS' WORK INCLUDES: Cat Mazza (microRevolt) recreating corporate logos with knitting, machines, and needlepoint; Sabrina Gschwandtner sewing thread and paper drawings on the machine installed in her cubicle; LoVid and Douglas Repetto producing patchwork of videos generated by an installation of work clothes and electronic office supplies; Evan Greenfield and Erika Somogyi creating a shrine to lost free time out of Sculpey clay and wax; Tony Luib transforming his cubicle into an abstract environment using office supplies; Michelle Rosenberg’s installation will create a space for daydreaming; Yoav Bergner replacing the office’s furniture with his own artisan and conceptual furniture; Elana Langer installing an audio piece compiled of field recordings taken from local office spaces; N.I.N.E launching a new addition to their urban exploration game HERE "I Hate My Work"--visitors will be invited to take part in the game throughout the show; Irene Moon presenting a 4’ tall microscope as well as photographs and a video animation from her MS thesis in entomology; Brian Alfred will show a collage entitled Cubicles with a replication of all the tools used to make the work out of paper; Tom Moody installing an old computer and drawing during visiting hours portraits using the outdated software Paintbrush; Bengala will include their personal experiences from their jobs in a mixed media installation.
I recently took a respite from thinking about technology and the n-grams it plants in the creative brain and read a book about America at the turn of the last century. In The Iron Baby Angel, 1954, Washington and Lee University law professor Charles R. McDowell chronicles three months in the life of a small town (Danville, KY), seen from the perspective of precocious 9-year old boy. The story looks back to a time when every town had a street intersection with a horse-drinking fountain, which served as a nodal point for the exchange of news and gossip, much like the modern-day portal site or weblog (oh well, so much for that respite). With a gift for high-flown Southern gab reminiscent of Mark Twain's, McDowell takes us into the nerve center, introduces us to the "loafers" who hang out there (street-intellectuals all), then fans out via the boy's peripatetic wanderings to explore the town's back alleys, freightyards, schools, mansions, and ruins. Unlike Twain, who wrote about his own time, McDowell is looking back to his childhood, and seems very concerned to nail down every aspect of a world he knows has vanished (significantly, the "hoss-drinking fountain" is knocked down halfway through the book). Lacking any primary conflict or sweeping narrative arc, The Iron Baby Angel--named after a cherub from the fountain--presents an exhaustive, anecdotal, but always entertaining catalog of the customs, speech patterns, clothing, and industries that prevailed in America circa 1909. In its vernacular humor and total-immersion approach to its subject, the novel bizarrely reminded me of V. S. Naipaul's early novels, in particular The Suffrage of Elvira, which takes place in Trinidad in the '50s. Both McDowell and Naipaul wrote in depth about the worlds they knew, intelligently and without cynicism: it's interesting that they resemble each other, but even more interesting that they should speak powerfully to an urban, electronically-augmented present. The appeal isn't nostalgia or escapism but actually the comfort one finds in realizing that life in the apartments, parking lots, and cubicles of latter-day America isn't all that different.