These images are from an on-going body of work taken on my phone. The blurry pictures are taken as the device becomes overwhelmed with a limited amount of memory, causing the instrument to lose basic functions such as camera use and making/receiving phone calls. While the resulting image is a documentation of a device losing function, the images are a metaphor for time and the record of the past.
Untitled (sunset), Archival Inkjet print from broken iPhone camera, dimensions variable, 2017
Untitled (light), Archival Inkjet print from broken iPhone camera, dimensions variable, 2017
Untitled (snow), Archival Inkjet print from broken iPhone camera, dimensions variable, 2017
Untitled (windows), Archival Inkjet print from broken iPhone camera, dimensions variable, 2017
Untitled (table), Archival Inkjet print from broken iPhone camera, dimensions variable, 2017
Untitled (candle), Archival Inkjet print from broken iPhone camera, dimensions variable, 2017
Untitled (women's march 1), Archival Inkjet print from broken iPhone camera, dimensions variable, 2017
Untitled (women's march 2), Archival Inkjet print from broken iPhone camera, dimensions variable, 2017
Untitled (factory), Archival Inkjet print from broken iPhone camera, dimensions variable, 2017
Untitled (valentines), Archival Inkjet print from broken iPhone camera, dimensions variable, 2017
Untitled (exhibit), Archival Inkjet print from broken iPhone camera, dimensions variable, 2017
Untitled (void), Archival Inkjet print from broken iPhone camera, dimensions variable, 2017
Untitled (game), Archival Inkjet print from broken iPhone camera, dimensions variable, 2017
Untitled (landscape), Archival Inkjet print from broken iPhone camera, dimensions variable, 2017
Untitled (garden), Archival Inkjet print from broken iPhone camera, dimensions variable, 2017
Untitled (body), Archival Inkjet print from broken iPhone camera, dimensions variable, 2017
Untitled (floor), Archival Inkjet print from broken iPhone camera, dimensions variable, 2017
Untitled (yard), Archival Inkjet print from broken iPhone camera, dimensions variable, 2017
Acrylic and Collage on Archival Photograph, 30" x 20", 2014
Acrylic and Collage on Archival Photograph, 18" x 12", 2010
Collage on Archival Photograph, 27" x 20", 2014
Collage on Archival Photograph, 27" x 20", 2014
Collage on Archival Photograph, 27" x 20", 2014
Collage on Archival Photograph, 30" x 23", 2014
Collage on Archival Photograph, 27" x 20", 2014
Collage on Archival Photograph, 27" x 20", 2014
Acrylic and Collage on Archival Photograph, 30" x 23", 2015
Acrylic and Collage on Archival Photograph, 20" x 17", 2014
Silkscreen on Paper, 17" x 24", 2012
Silkscreen on Paper, 30" x 24", 2012
Silkscreen on Paper, 24" x 24", 2012
Silkscreen on Paper, 24" x 24", 2012
Silkscreen on Paper, 17" x 24", 2012
Silkscreen on Paper, 13" x 8", 2012
Silkscreen on Paper, 17" x 24", 2012
Acrylic and Archival Photograph on Aluminum, 24"x16", 2012
Acrylic and Archival Photograph on Aluminum, 24" x 24", 2011
Acrylic and Archival Photograph on Aluminum, 31" x 23", 2012
CMYK Silkscreen and Acrylic on Archival Photograph on Aluminum, 24”x30”, 2013
Acrylic and Silkscreen on Archival Photograph on Aluminum, 30”x20”, 2012
CMYK Silkscreen on Archival Photograph, 12" x 12", 2011
Acrylic and Silkscreen on Archival Photograph on Aluminum, 24" x 20", 2012
An artist’s name is inherently linked to the beautifully handcrafted sculptures, vessels, and objects that line the gallery, store, and Permanent Collection of The Center for Art in Wood. As an artist interested in authorship, I was most interested in working with the pieces from the John Grass Wood Turning Company archive. Objects within this archive were made by artisans working under the tutelage of an institution, where the name of a maker becomes dissociated from the object. I was particularly interested in objects that suggest a potential action, such as the Billy Club, which has been used as a vehicle for violence, control, and the marginalization of devalued communities.
In my installation, I have removed the Billy Club from it’s pedestal and replaced it with a surveillance camera within a mirrored enclosure, to implicate a viewer as a witness to the occupying force of the object’s function as something to adorn, hold, flatten, split, strike/hit, brace, and control.
For More Information, Please visit: http://centerforartinwood.org/exhibition/other-selections/
Double-Mirror Plexi, Billy Club from John Grass Woodturning Co, Live Video, 2015
For More Information, Please visit:
http://centerforartinwood.org/artists/marc-blumthal/
http://centerforartinwood.org/exhibition/other-selections/
Double-Mirror Plexi, Billy Club from John Grass Woodturning Co, Live Video, 2015
For More Information, Please visit:
Silkscreen on New York Times, 24” x 29”, 2011-2013
Feline Bone/Ash Flocked on Aluminum, 12”x12”, 2013
Dented Archival Photograph on Aluminum, 20” x 20” x 3”, 2013
Etched Crystal and Acrylic Pedestal, 3.5” x 3.5” x 3.5" and 33” x 8.5” x 8.5”, 2013
Etched Crystal and Acrylic Pedestal, 3.5” x 3.5” x 3.5" and 33” x 8.5” x 8.5”, 2013
Collage on Archival Photograph, 24" x 16", 2009
Collage on Archival Photograph, 30" x 20", 2009
Collage on Archival Photograph, 10" x 10", 2013
Collage on Archival Photograph, 18" x 24", 2009
Collage on Archival Photograph, 18" x 24", 2013
Collage on Archival Photograph, 20" x 20", 2009
Collage on Archival Photograph, 14" x 18", 2009
Collage on Archival Photograph, 18" x 24", 2009
SuperCuts was an exhibition that explored various forms of power by removing the viewer from the act of physically viewing the artwork. The exhibition was accompanied by a series of three performances that further investigated power dynamics through art, poetry, and sound as experienced through a live-feed video. Below is a selection from the three performances.
The second of three performances in SuperCuts is part poetry recital and part slam performance. LYRICALWARS is a daily practice of poetry writing that TJ Ghose uses to examine the power structure in marginalized systems.
For more information, please visit lyricalwars.wordpress.com
The second of three performances in SuperCuts is part poetry recital and part slam performance. LYRICALWARS is a daily practice of poetry writing that TJ Ghose uses to examine the power structure in marginalized systems.
For more information, please visit lyricalwars.wordpress.com
The third of three performances in SuperCuts abstracted the nature of viewing within the structure of the gallery. This performance explored the visceral nature of sound as the The F.X. Messerschmidt Project performed a recent project.
For more information, please visit: https://soundcloud.com/messerschmidtt
The third of three performances in SuperCuts abstracted the nature of viewing within the structure of the gallery. This performance explored the visceral nature of sound as the The F.X. Messerschmidt Project performed a recent project.
For more information, please visit: https://soundcloud.com/messerschmidtt
