Tommy Coleman, an artist featured in GRAPHITE VI, first made my acquaintance when I was I think 14, at the Oxbow School, in Napa, where he was a counselor and later a teacher. I remember him telling me about Doris Salcedo, trying to get me to dance to Beyoncé, teaching me intaglio etching, and doing a jumping high five from down the block. After graduating Cooper Union, Tommy worked at the college, and is now currently enrolled in the Yale MFA program. He is also starting a summer residency at Artpark in Lewiston, NY, on the edge of Niagara Falls. I had the privilege to have this email conversation with him.
Seo Yun Son identifies as a mumbler.
Marissa Yardley Clifford identifies as a documentarian.
Together, they make Karen Eliots, a multi-media collaborative project that focuses on technol-ogy, human impulses, and narratives otherwise unheard. Podcasts forthcoming.
By Jesy Odio
By: Jesy Odio
Before 5 Every Day existed, the city was large and overwhelming. To those who decamped to Southern California and even those that have been living around to see the many faces of Sunset Blvd., with its micro-climates and pocket neighborhoods, Los Angeles is a confusing yet enthralling metropolis. How is one ever able to truly get to know this urban paradise? I hate to say it, but there’s an app for that: 5 Every Day.
In this video installation, Abigail Collins juxtaposes drone footage of a barren landscape with a conversation about how the LAPD documents an incident. Just as a mysterious X-shaped structure sits in the middle of an open field, the Lieutenant describes how law enforcement often produces various sketches in which “‘X’ marks the spot”.
Without any context besides the coordinates in 29 Palms, CA, the piece resembles a document leaked by some covert operative on Wikileaks. To stumble upon this discovery is like unearthing an illicit document beneath some virtual abandoned battlefield.
Abigail Collins gives GRAPHITE a full disclosure on how she formed interest in the subject matter, and how the piece came together:
“With both the video and the audio, I was (and still am!) thinking through ways that aerial views are used to flatten landscapes, visually and ideologically. I shot this footage with a small drone near the 29 Palms Marine Corps Air Ground Combat Center, where they test drones and other aircraft. The view from the drone only captures the top of the X installation, supplanting the vision of those on the ground.
I also interviewed an LAPD Lieutenant who describes the most precise way to document a crime scene: with a computer program that sketches the scene from above. The drone’s claim to an objective perspective negates the point of view of those on the ground, so the interview was a way to investigate how that same aerial flattening works ideologically when the perspectives of the individuals are claimed to be less important than the measured distances between them.”
Stay tuned for more contributor profiles and interviews. GRAPHITE Issue 5: Networks will be released on June 6.
Our profiles of contributors to GRAPHITE‘s fifth issue continues with a flash interview with artist London-based Josh Bitelli.
Q1 – Life story:
A1 – tba Continue reading
As a part of the Hammer Museum’s ongoing exhibition Take It or Leave It: Institution, Image, Ideology, prominent artists Judith Barry, Dara Birnbaum, Andrea Fraser, and Mary Kelly were called together on February 12 to discuss the panel’s namesake: “The Future of Institutional Critique.” Continue reading