EXQUISITE POOP : Blind Reproduction

Today is the last day to support Blind Reproduction's Indiegogo campaign. We have catalogs, prints, art, and special commissions for sale.
Blind Reproduction is a project between 26 artists and writers, in which artists try to remake each others' work based only on a verbal description. View all of the results here.
Next Saturday our show, Exquisite Poop, opens.

EXQUISITE POOP : Blind Reproduction
March 10 – April 15, 2012
Opening Reception Saturday, March 10, 6-9pm
LIVE PERFORMANCE BY ABACUS JONES 8PM

A Gathering of the Tribes
285 East 3rd St. 2nd Floor (Between Ave C & D, near F at 2nd Ave or Delancey/Essex)
New York, NY 10009 (212) 674-3778 info@tribes.org / gatheringofthetribes@gmail.com

Inspired by the different descriptions Steve Cannon’s visitors would give of the art on the walls, and by taking the blind professor to art openings, curator Janet Bruesselbach organized an elaborate art and writing project between 13 artists and writers. It aims to consider the subjectivity of attentive visuality in art writing and the absurdity of symbolic imagery.

The artists were invited to contribute a small two-dimensional work, and commit to another. Images, titles, size and media information were then assigned to the writers, who were charged with describing the art as thoroughly and sincerely as possible. These descriptions were nearly randomly assigned to the contributing artists, who were tasked with recreating the artwork they thought the writer had described, without knowing the artist or seeing the original image.

The first stage of translation from visual to verbal varies hugely in style and focus, even given stylistic restrictions. The artist’s job is even harder and even more subject to the variations of personality and style. Not only was it hard to communicate the most basic aspects of artwork or even the rules of the game, the variations in series are indescribable. The resulting illustration of mis/communication varies from wondrous to farcical and demonstrates the impossibility of translation.

Participating artists:
Alexis Duque
Lorra Jackson
Brian Elig
Blair Kamage
Carly Bodnar
Robert Scott
Joseph Materkowski
Samuel Bjorgum
Lauren Kolesinskas
Jessica Daly
David Hollenbach
BMIP (Babyhead)
Nick Musaelian

Participating Writers:
Allison Moore
Maddie Drake
Joshua Crowley
Jenny Bhatt
Casey Plett
Kaitlin Heller
Adam Kavulic
Zane Hart
Matt Keeley
Jamie T. Clark
Jon Boulier
 Ammon Ford
Chris Heffernan

 Contact the curator: janet@bruesselbach.com

Teleportraiture

Teleportraiture is a series of oil portraits painted through videochat. I am a classically-trained portrait artist whose work has always been based around the intimacy generated during the interaction between painter and subject. The painting is artifact of a performance of relationship and conversation, mutual but asymmetrical observation. Unlike paintings from photos, these portraits capture a personality over time. Sometimes things occur like the mirror effect, where I have to put the expression on my face that my subject should have in the painting. Yet the resulting painting is still, choosing challenge over cubist adaptations.

I’ve grown up on the internet, communicating throught text, but in the past few years interacting face-to-face remotely has become commonplace. In videochat, the mirror effect is more explicit, as you’re always able to see yourself as the other sees you. You find yourself having to alter your face from the way people look at computers to how they look at people – yet the portrait artist often looks at people the way people look at computers. This toggling between performing and concentrating means that, more often than not, the absent, concentrating expression of the computer user will be depicted – if I allow it to be.

This project seeks to examine the tenuous, technology, strange intimacy, and charged emotions around communicating remotely, by making the archaic oil portraiture tradition site-unspecific and international in a way that, if anything, makes it more personalized. This differentiates it from the portrait-by-photo services made affordable by outsourcing. The ultimate images use the intermediary camera and compression to generate artifact artifacts. They are not supposed to look like they were done in person, but reflect their particular system of old and new technologies.

I have worked this way on three occasions prior to starting this campaign: once with deep romance, once with a stranger speaking another language, and once for a self-portrait. Teleportraiture in part examines the current trend toward erosion of online anonymity. In the course of the project I hope to see many faces I haven’t seen in person or ever before. Ultimately, my goal is always to make my subject look good, and give them a unique experience with a tangible result – the conceptual aspects will never supercede that. By making your backing part of this project specifically, you get to participate in a techno-social experiment marking a particular cultural moment in an oddly old-school way.

Your money buys you a portrait, images thereof, and videos of sessions, or goes toward a book, poster, and exhibition of the series. The backing structure is based around backers of the smallest amounts being able to sit in and watch the process. At the next level, you’ll get a pdf book and poster of every portrait. Mid-range backers actively contribute by sitting to have their portrait painted, and keep a scan, but I keep the painting. With the permission of the sitter, sessions will be recorded, and a little more money gets you the video. At a relatively low cost for oil portrait commissions, backerss can buy the painting. Even higher donations will keep lower backers from viewing the session, plus no limitations on time or size. I will continue to take commissions for these after the project funded through kickstarter is fulfilled. All backers receive an invitation to a preview reception of the exhibition of these works. The exhibition’s location is undetermined, but should be longer than a month in New York City in mid-2012, somewhere with wifi and computers for remote attendance and so I can keep painting teleportraits from the space.

I'm hoping to make 20-30 paintings over the course of 2 months. Sittings usually take about 3 hours. Most of the paintings I make through Teleportraiture will be between 8x10 inches and 12x16 inches. Usually, I charge $400 or more for a head and shoulders portrait. That means what I really want to raise is $8000. This is, at bare minimum, what your donation goes towards:

Studio rental 800

Electricity 100

Cable 100

Painting Supplies 300

Printing 300

Shipping 400

Frames 200

Exhibition space rental 2000

Exhibition ad/promo 500

Exhibition hardware and labor 300

TOTAL: 5000

With $3000 more, at least, though, I can rent the space for longer, invest in a bigger, better scanner, and provide a computer and projector for the opening. In fact, I'm looking for a good tech-friendly space for this, and if it's non-profit, that would be a huge help, as well.

Here's a 10-minute demo video in which I paint Lauren while discussing the project.

Blind Painting, or, The Canvas Game

Artists, Writers, and Persons of Interest,

This is an invitation to participate in a collaborative project and
exhibition. I've been brainstorming it as "blind painting": what it
resembles is a surrealist game (Ipupukat/ the Paper Game, a little
bit), and, while it's probably been done before, every time it's done
is vastly different depending on the participants.

Artists will contribute one of their works - we'll stick to
2-dimensional, with a maximum largest dimension of 36 inches, to keep
it simple. Writers will be assigned (randomly) one of these works to
describe as extensively as possible, as if it were to be destroyed, or
needed to be forged. Then I will give another participating artist one of these descriptions of
another artist's submitted piece, and they will attempt to replicate the artwork
from that.

There are a lot of interesting things about image and
language being tested experimentally, here. Go with it. Ultimately,
both the original works and the telephone-reproductions will be
displayed in an exhibit, accompanied by the descriptions.
This project will evolve greatly as it goes on. Clearly, I know more
artists than writers, so please pass this on to more writers. If
you're an artist, and know you're good at visual verbiage, you may
save yourself a lot of work by volunteering to be a writer. I may
change it so that it's all artists, especially if we have mostly
artists who write well. Finishing on deadline will be important for
this project, since there are two stages of difficult creative work
before the exhibition materials can even be prepared.

If you're interested in participating as an artist, reply with a jpg
of the work you'd like to include (with media, dimensions, and date),
or say you want to make something specifically for it. If you'd like
to only be a writer, reply with a short sample of observational
writing. If you think you can do both, send both. If pulling those
together is slowing you down from replying to this, then worry about
it later and just reply.

I'm hoping to have an exhibition sometime in early 2012 - March, in
New York. By default, I can hold the show at A Gathering of the
Tribes, blind guy Steve Cannon's alternative space in the East
VIllage, but if you like the idea and can provide a more accessible
space for 4-6 weeks, or somewhere to re-exhibit, I would love that,
and we should discuss it.

I've sent this call to a very diverse crowd at all career stages. The
project's ultimate form will depend on who responds. Please pass it
on, post it, and let those you think would enjoy it know. They should
contact janet@bruesselbach.com (I may set up another address if things
get too intense).
And if you'd like to be involved in planning or funding, I'd love the help.