Forms and DocumentsCategory
What a whirlwind! As always, this residency was jam-packed with great information, challenging and fulfilling critique, and a splash of e…
This semester was a good semester. I had less free time and many more responsibilities outside of my studio practice. There wasn’t room f…
Astro Noise shows the inability to accurately separate out the signal from noise of “big data” even with machine learning and predictive analysis.
We share the stars with all of humanity. Estimates differ, but there are an conjectured seventy sextillion stars in our observable universe.
The issue is universality, representation as power, and the effects of colonization, namely the irreparable shift that comes with mimicry and hybridity.
There is an inextricable tension in the critical process when you open up ideas for analysis and evaluation.
Semester 2 Reading List
At the end of our most recent residency, my world was awash with ideas – veritable seas of thoughts, methods, practices, and approaches.
Part of the difficulty of being such small creatures in such a wide world is that we are never able to see our entire environment at once…
Maps have long been a tool of power, a method of understanding, and a method for systematically exploring and recording information. They are inherently instruments of organizational strategy. While geographic maps are the most common and widely used, many artists look to the methodologies and language of maps in order to classify and, in some cases, obfuscate information. Maps, charts, and cartographic language can all serve as reinforcements for an argument. The information within a map is generally understood to be accurate and reliable, but many artists use that assumption in order to deceive or mislead their viewers as part of their work. An example is Lordy Rodriguez’s Island in the Center, 2002, where the artist created abstract and fictitious map images without words as part of a series called “Dislocations”. Joyce Kozloff has worked on themes concerning maps and cartography for the past fifteen years and they have become a very large part of her oeuvre. Her cartographic sensibilities link us to a much deeper and anachronistic view of humanity and the human condition, and three artworks from her independent bodies of non-public works serve to demonstrate differing–yet related–modes of mapping, naming, and subjugation.