statement 1

THE WINDOW IS BLACK AND FULL OF OBJECTS

pROFILE_mUSEUM - the oceania collection

PROXY GALLERY (now showing: the oceania collection): Select and assemble your own custom art exhibition with catalogue! Ultra hi-res art files, suitable for printing, are delivered in one custom pdf/ebook. Thousands of enlarged (custom, patented algorithms) and enhanced photographs (now, likely several hundred thousands, soon over a million,) mostly low-res cellphone, web-cam, and low-end digital camera self-portraits (self-packaging), culled from dating/social websites -- as you might expect, there is some explicit content (more than is permitted here unfortunately: you really should see them all, but it probably makes little difference) -- fascinating and occasionally disturbing. I've decided to also add a set of painting-filters -- this was good, as it enabled a 'recovery' of many more worthwhile images, and also clouded any possible erogenous/irregular corporate claims, but the project now extends beyond my life-span. I could easily make small paintings from these images but who support that activity? Let's see: commissioned portrait paintings, I'm thinking 12" square encaustic on panels, from your choice of subject are available for $15,000US. It's interesting to find the balance/inertia point between the look of photo and painting, and it speaks to the current social/heroic condition! Often it makes faces look squinty so it's necessary to 'bring-back' facial aspects. The display images on this site are but quick approximations of the larger art files which simply don't scale -- kinda like paint on canvas. Another advantage of the painting filters is that they drastically reduce the file sizes and make it well-nigh impossible for someone to covertly res-up these display images for printing. It's quite incredible to realize that many of these pictures were only 3-4K or so when I started to work on them. You may realize that this is not the first time I've collected anonymous found-public imagery: notably dumpster-diving (bicycling with backpack at midnight,) at photofinishers' in the 70's. And of course, there's the "Insatiable Abstraction Engine" -- collections from newsgroups. [http://bbrace.net/insatiable-abstraction.html] But come to think it, nearly all my work involves repeated multiples or collections of imagery. My new friends. Whenever possible I retained any color casts, cropping and lighting. The portraits are actually very considered, sometimes selections made/altered merely to obscure the identity that they wished to presumably portray initially. Sunglasses are a popular ruse, as are close-ups of cleavage, butts, tattoos, feet and groins. (Curiously, I've yet to see a picture of hands... ok, now I have: some intricate fingernails and the love/hate finger-tats.) Many feature-obilerating camera-flash-portraits in the bathroom mirror. Many of course, occur in and around motorized vehicles. Only one (so far) in a grocery store. And some, but surprisingly few, are filched from somewhere online, but this must be a risky choice in the event of an 'actual encounter.' How much introductory information/description do you want to put out there to begin with? There are some very creative, even artful, solutions to this dilemma. Various select groups of portraits are included in each PDF 500-page ebook/catalogue for $250 (sorry about the price but it was a hellish amount of work and I guarantee you won't be disappointed or YMB), and can be ordered directly. The images contain sufficient resolution to print them out on letter-size/A4 paper (or coffee-mugs, keychains, magnets, photo-stamps, cards, calendars, tea-towels...), for an instant exhibition. Use my verified Paypal account to have the DVD delivered at no charge: [bbrace@eskimo.com; http://bbrace.laughingsquid.net/buy-into.html] Or, even better, assemble your own catalogue/exhibition at the Proxy Gallery storefront [http://cart.iabrace.com/]. Art files are only $1 each. My new friends. Having been recently kicked-off Facebook (there was an anonymous report of a depicted nipple!), and losing 5,000 appreciative friends - it was the perfect place to host a social-media profile-portrait-collection, I've decided to also open an online storefront where individual high-res files will sell for only $1/each. [http://cart.iabrace.com] How hypocritical to object to profile pictures that were on FB to begin with; but it's fun to now position coloured boxes and bars over n•pples, c•nts and c•cks. How idiotic is that? The prints of course required different custom algorithms and some masterful retouching -- they look great! Technically given the incredibly diverse range of imagery it was difficult to make them all equally legible; despite a variety of intricate processing directives, the scripts would inevitably crash or be unable to render a decent image. These were handled individually as were the painting-filters. If I receive a reasonable number of orders, I'll offer additional states of the union or countries... but California had to be the place to begin. Sure to be a collectors' (socio-anthropologists') item! An amazing and compelling, collective portrait! The interspersed military/gangster imagery (or maybe something else), also introduces a new spin on the hopes for this already tenuous social-media culture. I've had to organize/sub-divide these in some fashion, so by state/country seems to be the prevailing approach. And given how often workers are compelled to move around, there's more of a local difference in cultural self-perception, body language, and social-sexual proclivity than you might expect. The classification boundaries are increasingly porous. Recently I set-up a "Caribbean" collection that will end-up being especially massive due to the many sub-nations, each of which wouldn't hold many entries. But you might wonder if any protrayed desire isn't really just vengenance from being infected by various disease/ vectors: I have it and so will you. It really is a perhaps overlooked (overly-present), socially significant era when a massive proportion of the population is able to individually exorcise their self-imagery instead of being routinely dependent on existing systematized systems of portraiture and presentation -- which is not to say that it's entirely free from stylistic-cultural-corporate constraints and codification (and why, for now at least, I left the imagery in a nearly random arrangement), but the individual, probably for the first time ever, is seen freely negotiating a shifting porous skein of varied reception... well, something like that...

mailart to Patrizia Battaglia

p-grafiks

Joseph Beuys - Parallel Processes

Kunstsammlung Nordrhein-Westfalen / Photo: © Angelika Platen.

Joseph Beuys - Parallel Processes
11 September 2010 – 16 January 2011
Kunstsammlung Nordrhein-Westfalen
K20
Grabbeplatz 5
40213 Düsseldorf
Germany

www.kunstsammlung.de

By affecting an inextricable unity of artistic thinking and action, Joseph Beuys (1921-1986) became one of the most charismatic creative personalities of the 20th century. His multifaceted oeuvre—which continues to exert an influence on contemporary artistic production—is still featured and discussed under the most diverse aspects. Through ten major installations and large-scale sculptural works, the exhibition "Joseph Beuys. Parallel Processes" (Sept 11, 2010 – Sept 16, 2011) at the Kunstsammlung Nordrhein-Westfalen am Grabbeplatz in Düsseldorf examines a variety of themes and clarifies Beuys's "expanded conception of art." Political and artistic utopias are fused now into "social sculpture" in order to provide new perspectives onto society. During the exhibition, well-known artists will discuss their views of Beuys at the Schmela Haus.

Through his activities, Joseph Beuys expanded our concept of the work of art: he believed in the power of art to change people, and he imagined both social and artistic utopias. Manifesting itself progressively has been his worldwide influence, one that remains detectable even in the most recent art production. Among the altogether circa 300 works on view at the Kunstsammlung am Grabbeplatz and at the Schmela Haus are masterworks such as "zeige deine Wunde (Show your Wound)"; 1974/75), "The pack (das Rudel)" (1969), and "Fond IV/4"(1970/71).

A number of installations, on loan from major museums and private collections, are leaving their permanent locations for the Düsseldorf exhibition the first time since the death of the artist. Shown in Europe now for the first time is the large-scale installation "Stripes from the house of the shaman 1964-72" (1980). Also featured is a comprehensive selection of drawings, objects, plastic images, and relics from Beuys's actions, all of which establish interrelationships between art and life in singular ways.

Coming together in "Parallel Processes" are sculptural and pictorial aspects, theoretical reflections, and art actions, along with this artist's idiosyncratic transformations of working materials and objects, to form an extraordinary portrait of Joseph Beuys's unique lifework. Invested with a new contemporaneity and urgency are both the sculptural qualities of his art and its performative potential. Experienced with great immediacy throughout nearly 3000 ft._ of exhibition space is the complex network structure which joins Beuys's artistic oeuvre into a coherent totality.

A comprehensive catalog (ca. 432 pages) with color illustrations of all exhibited works guides the reader through the presentation's various "parallel processes." There are essays by Marion Ackermann, Gottfried Boehm, Wilfried Kuehn, Isabelle Malz, Maja Naef, and Johannes Stüttgen. Sharing her views in an interview is internationally recognized action artist Marina Abramovic. In addition, a special city map identifies the locations in Düsseldorf which were invested with a special significance during the life of this professor at the local art academy. Guided tours to these sites will also be available.

This exhibition forms part of the program of the Quadriennale 2010, organized by the regional capital of Düsseldorf. A scholarly collaboration between the Kunstsammlung Nordrhein-Westfalen and Friedrich-Schiller Universität in Jena has received substantial support from the Federal Ministry for Education and Research (BMBF). Under preparation since 2009 by a team of young researchers and commencing this coming January is a symposium on Beuys. The setting will be the former Galerie Schmela, recently acquired by the Federal State of North Rhine-Westphalia-a venue where Joseph Beuys made art history with his exhibitions and actions during the 1970s and 1980s. The program draws upon the participants' catalog texts on the individual works and on the thematic areas which preoccupied Beuys. Exploring a range of possibilities for presenting Beuys's works during the run-up to the exhibition was the successful lecture series BEUYS AUSSTELLEN? (Exhibiting Beuys?; Nov 12, 2009 – June 24, 2010), organized by the Kunstsammlung and developed in collaboration with Prof. Wilfried Kuehn and the Hochschule für Gestaltung in Karlsruhe.

Exhibition curators: Marion Ackermann, Isabelle Malz

The exhibition is supported by the exclusive sponsor HSBC Trinkaus & Burkhardt AG and by the Federal Ministry for Education and Research. Media partner is Verlagsgruppe Handelsblatt GmbH.

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