"Paranoid Android"

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Good music and food
pretty much sums up my life.


3rd
May

3 notes
26th
April

3 notes
Confession: My first ever performance art piece, and possibly the scariest experience ever. For my Art & Life class, our first major project had to be centered around the “confession” so I chose to reveal fragments of myself through a simple idea: the diary. I gathered up a collection of personal items that ranged from diaries, pictures, notes, ticket stubs, CDs, stickers, and drawings that I’ve kept over the years and placed them in a box in the middle of the classroom. I also left my diaries unlocked. My box was not only full of personal diary entries dating all the way back from 2000, but also silly trinkets or notes. I asked everyone to gather around in a circle, and allowed them to rummage through my secrets for five minutes while I stepped out of the room. I told everyone not to ever let me know what they read or found out about me. It turned into a weird performance between my classmates, who all experienced and found out different things about me. During critique they commented on how they felt a bit guilty or apprehensive at first, but then dove right in due to extreme curiosity. Some shared photos, commented and laughed about certain items, or read journal entries out loud. 
25th
January

23 notes
Ron Mueck
25th
January

30 notes
Eleanor Antin, Carving: A Traditional Sculpture. 1972 Carving: a Traditional Sculpture is another example of an artist using her own body as the subject and material of her work. The performance existed as a sculpture-in-process that lasted a total of 45 days (from July 15 through August 21, 1972). During that time, Antin placed herself on a strict dieting regimen and documented the work through a series of photographs taken every morning from four different vantage points. She claimed that even though the material was her own body, she was still working in the traditional mode of Greek sculpture, and her intention was to “make an academic sculpture” – a critique of the social pressure women feel to make their bodies conform to an aesthetic or cultural ideal.
25th
January

19 notes
David Hammons performing ‘Bliz-aard Ball Sale’ (1983), Cooper Square, New York City. Hammons situates himself alongside street vendors in downtown Manhattan in order to sell snowballs which are priced according to size. This act serves both as a parody on commodity exchange and a commentary on the capitalistic nature of art fostered by art galleries. Furthermore, it puts a satirical premium on ‘whiteness’, ridiculing the superficial luxury of racial classification as well as critiquing the hard social realities of street vending experienced by those who have been discriminated against in terms of race or class.
25th
January

60 notes
Janine Antoni, Lick and Lather. 1993. Two self-portrait busts: one chocolate and one soap that have been either licked or lathered by the artist. “I wanted to work with the tradition of self-portraiture but also with the classical bust…I had the idea that I would make a replica of myself in chocolate and in soap, and I would feed myself with my self, and wash myself with my self. Both the licking and the bathing are quite gentle and loving acts, but what’s interesting is that I’m slowly erasing myself through the process. So for me it’s about that conflict, that love/hate relationship we have with our physical appearance, and the problem I have with looking in the mirror and thinking, ‘Is that who I am?’”
28th
November

6 notes
Hahaha I don’t know how this idea came into being. Maybe it is my love for bearded men and flowers? Still a work in progress.