Last week for studio we had to complete ‘city as resource #3’ where the class was required to individual go out and scout out exhibits or lectures that could help influence their final project. I decided to take a trip to the MoMa, where I happened to come across an Artist by the name of Adrian Piper. Located on the the 6th floor of the museum, the only exhibit in the MoMa at this time to have a whole floor to itself. This exhibit really influenced my project in multiple ways, to the point where I will be continuing this project after the class has ended to expand on multiple ideas I have. I also am hoping to be able to showcase this project in a gallery one day to get the full effect of what i’m going for. But as for what I will be turning in for my psychical final, Piper has multiple new perspectives on how I can possibly incorporate words with my images. Whether that be writing them directly on the photograph after print with a sharpie, or having the response typed then photoshopped on to each photo or even just having them separate and placed on top of each other with a paperclip. There are many other options that Piper had presence, these were just to name a few. While there, I also came across one of her installations where it was a small box, large enough to house 1 or 2 people at a time. Whereas the walls were fully covered in something similar to my wheat pasting idea. This gave me a few ideas of how to go about my idea.
As for the progress of my project, have gotten several responses (which some have left me in awe, while others have put my ideas in to actual words.) back and have gotten a chance to actually shot a few people. Both test practice shots and the final actually shots. However, there are many who still haven’t reasoned back to me, so for my final I will probably on have three official pieces done, while the rest will have to be saved for a later date own my own personal time. Likewise,I have also added another question to my requested responses that I felt would be a great addition to my project ‘how do you relate yourself to queerness?/where do you see yourself on the spectrum?’
Here is an updated version of my outline for studio, where you can see I also came up with a name for my project!
ID Me Please
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- Photoshoots
- Schedule shoots (reach out to classmates/co-worker)
- Myself: both my id’s side by side -or-
- Photoshop new id
- G: Sitting backwards on chair, levitating id
- Translucent string attached to id, someone holding it out of frame
- Possibly have flames/energy source coming from hand, underneath id
- Madi: Someone handing her, her id
- Hand has blue glove
- White lab coat
- Stethoscope
- No other art of body visible
- Doctor prescription note
- Cassie: At store paying with id -or- at bank insert id as bank card
- Ari: Check boxes, have her id in the women one
- Kay:
- Myself: both my id’s side by side -or-
- Schedule shoots (reach out to classmates/co-worker)
- Responses
- Write/send out questions on meal today
- Madi: “I’m sure I have been asked before how I would define my own identity, but never have I been asked how to define identify without relation to myself. Posing the question in this way makes me think, I appreciate that babe. The easy way to define identity would be to say it is what makes you, you or what makes me, me, but I feel this doesn’t take enough into consideration. As you already know, I’m in this moment in my life where I try to think about anything important in context with spatial borders. Using this lens, identity is all borders drawn and situated together into one that creates a material and immaterial body. Identity is then the border that we use to define who we are to ourselves and to the rest of the world. In order to draw this border, we must have some site for recognition of identity. I believe we can only do this when we recognize some other already bordered group, such as women. I am able to identify as a woman because there is already an existing group called women that have pre-drawn borders of identity for me. Identity is then my situated relation to bordered groups. My relation to these groups is made possible by my own drawing of borders within a group. I don’t know if that makes any sense, but I guess what I am trying to say is identity is a personal border drawn within predetermined borders of social constructions. Identity is self-determined, is not prescribed.” | Identity
- G: Identity is fluid and all encompassing. It’s inclusive. Sex is just biological. It’s no more or less. Gender is preformative, so essentially whatever you make of it. Sexuality is who you are attracted too, I think this is also fluid. I am a queer identified woman of color. I use queerness to identify myself. I find comfort in that term because of the openness to explore all of the above definitions. | All
- Myself:
- Cassie: “Gender is one of the elements that emerges into a human identity. Gender itself is only a conglomerate of mannerisms and symbols. It’s like money, it really doesn’t mean anything but it stands as a currency, a symbol of how to approach an individual and a symbol to said individual of how to approach the world. It’s a bunch of ideas. And it’s not fixed and has many forms seeing as how it’s a creation of humankind in the first place, just like money (Dollar, Euro, Peso, Yen) Gender is nothing more than social currency, as blobs of consciousness there are certain experiences we wish to gather and gender is a currency that aids us in gaining and tailoring those experiences to satisfy our deepest desires.” | Gender
- Ari: “the state of being a female or male with reference to sociocultural differences instead of biological” | Gender
- Kay:
- Write/send out questions on meal today
- Wheatpasting
- Supplies
- Newsprint
- Paintbrush
- Printer
- Making it
- Paste
- Water & Soap
- Matte Medium
- Water, Flour, Sugar & Container
- Boil 1 cup of water. Pour the cup of water into a saucepan and bring to a boil over heat.
- Put 3 tablespoons of flour into a bowl, add 10 teaspoons of cool water until it forms a runny mix.
- Once the water has boiled, add the runny mix to the boiling water. Stir well.
- Keep stirring. The mixture will foam up while it boils, so the constant stirring is essential to keep it from bubbling over and to keep it from getting chunky. Keep the mix boiling for 2 minutes.
- Take the boiled mix off the heat. Add 2 tablespoons or more of sugar (added strength).
- Let it cool. Pour into an appropriate container for carrying with you. It will keep well for about a week.
- TIPS:
- 1. Don’t store the glue for more than 2 days or it will start to stink. Adding copper sulphate will make paste toxic to moths and long lasting. You can also keep it in the fridge to lengthen its shelf life.
- 2. For a super strong glue, add wallpaper paste or wood glue. Do not use super glue, rubber cement, or anything else volatile! Glue does make it smell weird and the wheat-paste is already strong, so I usually skip this step.
- 3. Clean your pots, tools, and brushes asap, before they dry.
- RECIPE for a LARGER BATCH:
- Follow the directions above, but use these amounts:
- Boil 12 cups of water
- Mix 6.5 cups of flour with 6-7 cups of cool water until it is a little runny
- Add mix to boiling water and stir for a couple of minutes (longer if you want to thicken)
- Turn off heat and mix in 4.5 cups of sugar.
- Let it cool.
- Some basics for putting up your images:
- Most paper will work. I’ve taped together large pieces of sketch paper and painted them with acrylic gesso to alter billboards. I’ve printed large regular printer paper posters at copy places. They all work well.
- While pasting, put a layer of paste down on the surface, then your image, then another layer of paste (some people choose to not put on this top coat, but it will be more water resistant and durable if you do). Press firmly.
- *A pasting technique that works for me is: use a wide brush 6-8″ or wider.
- 1. Wet the wall with your paste and then smooth that paste out with some final smooth strokes, getting out the big blobs and chunks (this is messy, so wear old clothes)
- 2. Attach the top of your image, holding the bottom away from the wall. Helps to have a friend. (You can also roll it out side to side for larger images.)
- 3. Get your brush nice and goopy with paste. Run the brush straight down the center of your image as you lower it onto the wall.
- 4. Re-wet your brush with paste and paint outward from the center, working out bubbles. Do this quickly, as the paper can start to distort if you don’t wet it fast enough.
- 5. Make sure you have the entire top covered with paste, then smooth it all out with even strokes in one direction, taking off any excess paste. It needs to be wet, not thick.
- 6. Paste onto Construction Walls, Condemned Buildings, Funky Doorways, Bridges have some cool spots. The best surface is WOOD. Second Best is METAL. Do not paste onto Glass or Plastic. Concrete sucks for wheatpasting. It’s too bumpy, you wont get a good connection, the poster won’t last as long.
- 7. Look for unscrubbed places with lots of layers of Graffiti. If it looks like it’s been there awhile, that’s a good sign. That means it doesn’t get scrubbed very often and the Poster will stay up longer. The Goal is to find places to paste that has good visibility but also will last a long time.
- Paste
- Pinpoint locations
- Chelsea
- Soho
- Brooklyn
- Construction sites
- Chelsea
- Supplies
- Photoshoots
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