emckinneyart

[emckinneyart]

These are screen shots from Lucky PDFs website School of Global Art. I like how they point out the absurdity of the stereotypes of an 'artist' consequently questioning the sincerity of this title and the character traits that go along with it.

[emckinneyart]

This article was taken from the July 2012 issue of Wired magazine. Be the first to read Wired's articles in print before they're posted online, and get your hands on loads of additional content bysubscribing online.

Think the art world is snobby? So doesLucky PDF, an artists' collective from south London. Their latest project, "The School of Global Art", is a semi-fictional roving art school that exists online and at events, and professes to award BA, MA and PhD qualifications. The introductory video on schoolofglobalart.org might suggest otherwise.

Participants wishing to become artists are asked several questions, whichinclude, "Have you ever slept with someone in the art profession?", and if so, "Have you ever had a conversation with a major European curator?" The project reflects the members' claim that art has been subsumed by the web to form a far more uniform culture. "Art has become much more like real life," says member Ollie Hogan, 25.

Lucky PDF operates at this cross-section, where real life meets the virtual, bridging the time lag that exists between museum and the digital realm. The members of the group, which also includes James Early and John Hill, both 26, and Yuri Pattison, 25, came together "to find new ways of funding, making and exhibiting art within a large network of artists and collaborators," according to Hill.

Merging the crowdsourced mentality of the web with the large-scale production infrastructure of television, the group invites creators from various disciplines to produce tongue-in-cheek live, online television-style programmes and parties with an aesthetic similar to that of Chris Morris's satirical show Brass Eye. They call it "post-internet" art -- the idea that art online is no longer an elite field, but a mass medium.

Collaborators include Chloe Simms, of The Only Way is Essex (to bring "outsiders into the art world", claim the group), and New York-based multimedia artist Cory Arcangel.

[emckinneyart]

LuckyPDF is a company of artists base in South East London. Successfully delivering cross-platform productions since 2009.

[emckinneyart]

LuckyPDF and Fred Cigarettes - Artist Brand Collaboration @ grouphab.it

with Andreas Angelidakis (Athens), Guest (Beijing), Hannah Perry (London), Joe Hamilton (Melbourne), Juliette Bonnevoit, Aude Pariset, Simon Denny and Yngve Holen (all Berlin). grouphab.it hosts the pre-launch event for LuckyPDF’s self initiated collaboration with boutique Swiss tobacco brand Fred. LuckyPDF have invited eight international artists to re-imagine the cigarette packet as a canvas for self promotion, aesthetic adventure and social commentary.  As Fred’s website states “Occasionally we like our message to be provocative: We do not share the prevailing mood of the health moralization and the consequent movement of political correctness.” LuckyPDF, it seems, also likes its message to be provocative. Straddling a hazy line between being complicit in the promotion of a dangerous drug and taking a long hard look at what makes branding addictive, as well as how artists can be implicated in pushing products, they have initiated a unilateral brand collaboration. Seven very limited edition packet design will be produced by Fred for exhibitions in Germany and Switzerland, the two key markets of this ‘alternative’ tobacco company. Creating an awkward resonance with recent artist-brand collaborations by the likes of Becks and Absolute Vodka these ethically conflicted designs reflect a complex testing of the limit of endorsement and the power-relations at play when artists operate outside of both commercial galleries and public funding. At a time when all branding on cigarette packaging is being reviewed, and has outlawed in Australia, others countries - including Germany - it is still acceptable to advertise such products on the street.  During our event on the 3rd, LuckyPDF will present the soon-to-be-released packet designs while at the same time creating a promotional video for the project - on site in Pankow - during what promises to be a very smoky party. Video production will then be extended to other public spaces in and around Berlin. After claiming to be idealists, Fred also says “Clearly we are the only real “start up” company in the Tobacco industry.” Arguably closely reflecting “start up” culture, LuckyPDF, in ‘Artist Brand Collaboration Preview’ shares the dangerous habit with grouphab.it.

[emckinneyart]

# 

Top HashTags on Instagram - Hashtagig

Top HashTags on Instagram by Hashtagig - updated today 7th of April 2014 

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[emckinneyart]

Performance. Goffman uses the term ‘performance’ to refer to all the activity of an individual in front of a particular set of observers, or audience. Through this performance, the individual, or actor, gives meaning to themselves, to others, and to their situation. These performances deliver impressions to others and information is exchanged to confirm identity. The actor may or may not be aware of their performance or have an objective of their performance, however the audience is always attributing meaning it and to the actor.

Setting. The setting for the performance includes the scenery, props, and location in which the interaction takes place. Different settings will have different audiences and will thus require the actor to alter his performances for each setting.

Appearance. Appearance functions to portray to the audience the performer’s social statuses. Appearance also tells us of the individual’s temporary social state or role, for example whether he is engaging in work (by wearing a uniform), informal recreation, or a formal social activity. Here, dress and props serve to communicate gender, status, occupation, age, and personal commitments.

Manner. Manner refers to how the individual plays the role and functions to warn the audience of how the performer will act or seek to act in role (for example, dominant, aggressive, receptive, etc.). Inconsistency and contradiction between appearance and manner may occur and will confuse and upset an audience. This can happen, for example, when one does not present himself or behave in accordance to his social status or position. A military man, for example, by appearance is supposed to behave tough and emotionless, as defined by society. However, when a veteran is diagnosed with a chronic disease, their manner may be full of emotion and feelings of helplessness. His appearance and manner are inconsistent and contradictory.

Front. The actor’s front, as labeled by Goffman, is the part of the individual’s performance which functions to define the situation for the observers, or audience. It is the image or impression he or she gives off to the audience. A social front can also be thought of as a script. Certain social scripts tend to become institutionalized in terms of the abstract stereotyped expectations it contains. Certain situations or scenarios have social scripts that suggest how the actor should behave or interact in that situation. If the individual takes on a task or role that is new to him, he or she may find that there are already several well-established fronts among which he must choose. According to Goffman, when a task is given a new front, or script, we rarely find that the script itself is completely new. Individuals commonly use pre-established scripts to follow for new situations, even if it is not completely appropriate or desired for that situation.

Front Stage, Back Stage, Off Stage. In stage drama, as in everyday interactions, according to Goffman, there are three regions, each with different affects on an individual’s performance: front stage, back stage, and off-stage. The front stage is where the actor formally performs and adheres to conventions that have meaning to the audience. The actor knows he or she is being watched and acts accordingly.

When in the back stage, the actor may behave differently than when in front of the audience on the front stage. This is where the individual truly gets to be himself or herself and get rid of the roles that he or she play when they are in front of other people.

Finally, the off-stage is where individual actors meet the audience members independently of the team performance on the front stage. Specific performances may be given when the audience is segmented as such.

[emckinneyart]

In her work The End of Art Ben-Tor fuses the personas of Francis Fukuyama, author of The End of History and the Last Man, with what I can only speculate to be artist and proponent of relational aesthetics Rirkrit Tiravanija. As with many of her creations this amalgamation, with its politically incorrect accent and possibly libellous content, provokes guilty laughter among the initiated and gives a nod towards those who always suspected they were being taken for a ride, whether it be by the ‘social sculpture’ of Tiravanija or the march of Fukuyama’s world view. Combining these two characters Ben-Tor strikes at some sort of truth about homogeneity in a world dominated by liberal democracy where everyone is an artist, simply by inhabiting space and maybe cooking some Pad Thai. In the second part of this video, Ben-Tor takes on the character of the art critic, proclaiming: “There is no art, there is no artist, there is just the world”, together with gems such as “I don’t like art, I’m an art critic, that’s what keeps me objective”. Ben-Tor’s characters are all recognisable and the comedy lies in this familiarity. However, they are always rescued from being simply an enactment of a stereotype. In this case the art critic has a pronounced southern drawl, which places her doctrine in the register of the ‘Bible Belt’ preacher rather than the New York taste-maker. Ben-Tor’s multiple personalities occupy a domain of idiocy, a space without logic or sense, where through the bigoted rants of talking heads, language becomes devalued and sometimes incomprehensible, and where through this unchecked babble, certain truths start to emerge.

[emckinneyart]

In her solo performances and video works, Tamy Ben Tor stages cultural stereotypes and taboos, which she parodies with a virtuosity bordering on the excruciating. Whereas all of Ben-Tor’s multiple characters possess idiotic features and mumble, slur, stammer, or yell through their multilingual text, they still frequently contrive to bring astonishing truths to light.