Unedited conversations between artist in a productive critique discovering thesis and processes behind the work.
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Recent acquisition of the Perez Art Museum Miami
Untitled (analog/digital_5), 2013
Transparent media, Duratrans, light box
28" x 40.25" x 2.4"
ARROW: I got hung up at OMM and then got home with an appetite so I was making vegetable curry
thank you for joining me
the document i sent you is not for public consumption
RAMOS: i understand
ARROW: it is a doc I wrote to better understand the options for setting the piece up
RAMOS: because the piece is a projection
ARROW: it is rather dry and uninteresting
RAMOS: the piece?
why do you say that?
ARROW: the document not the WORK!
lets talk about the work
not the instructions
ARROW: the work
the end product of a process which took days, weeks, months, years even
IS the end product
RAMOS: how many different images are within that one piece
ARROW: never thought to count them
counting would interesting but then you'd have to count the combinations of pairs of images and sets of three and so on and on
ARROW: here's a work that I still like utilizing only one image
the Untitled (1973) was (based on found slide)
1960s Kodak slide projector modified by engineers that worked for Eastern Airlines
ARROW: but we're discussing the PAMM piece
RAMOS: well we are discussing you
tell me about projection as a medium
it is kind of endless
yet you are choosing to make it sort of static
ARROW: nostalgia is what each viewer brings to the experience and his subjective
I am interested in editing and considering the variables
RAMOS: what variables?
ARROW: oh yeah, I am interested in the different methods of display that a work may have
RAMOS: for example?
beyond projection i mean
ARROW: large or small
high or low
left or right
I personally am more engaged when something can be altered, adjusted, and modified.
but one thing one way is okay too
but even that will eventually give way to change
RAMOS: as in altered during it's final viewing? or rather is it in flux as the final piece?
ARROW: always in flux
I am doing something on Thursday evening utilizing three projectors
and three different sized screens
RAMOS: all pointing at the same spot?
ARROW: (160) 35mm slides and 16mm film
three screens set upon a black ornate stairway in the Moore Space
the room with the Zaha Hadid Elastic piece
RAMOS: what will be touched by the projections?
what will be projected on?
ARROW: I just emailed you a photo of the stairway
Picture of Stairs at Moore Building
ARROW: ah yes
I have been free associating, editing, looking at slides, thinking about poetry
RAMOS: because it's poetry month?
ARROW: I am also incorporating 16mm films of Andy Warhol's screen tests from the MOMA circulating collection
so it's a small commission
ARROW: I am also integrating animated 35mm slides which I made for the occasion
RAMOS: so wait
i'm trying to imagine this room
you said three projections
ARROW: yes three
RAMOS: each on a different surface?
ARROW: yes three different screens
three different projectors
and many lenses which will give me the ability to go large and small
RAMOS: and the content within the tree projections are not related
ARROW: yes, each on a different surface unless I choose to overlap and make layers
the content is related
related by proximity
RAMOS: so that's not the content - that's the location
ARROW: or not
RAMOS: is the subject related?
ARROW: location is content too
RAMOS: ok i can buy that
ARROW: everything is related
RAMOS: everything is related
I have intentionally set up on the opposite side of the room from where the poets with read
and will douse the projectors during the reading
RAMOS: will "douse" the projectors?
ARROW: turn them off
RAMOS: ok let me re-imagine this
RAMOS: three projections are on - until the poets begin to speak?
I am warming up the crowd
making a piece for O,Miami during National Poetry Month in honor of John Giorno
who incidentally is on the reel of film
I am showing his Warhol screen test from 1964
RAMOS: now it is starting to make sense
ARROW: _Sleep, _1964 premiered at the Gramercy Arts Theatre in front of an audience of nine people, only two of whom walked out.
I am not screening Sleep
but I do have a 35mm slide of a single frame from the movie
which kind of outdoes Warhol
RAMOS: the film of Giorno sleeping for five hours
i'm sure one slide is plenty
ARROW: I like the idea of screening one single frame from Sleep in perpetuity
RAMOS: so do i
ARROW: well the camera does move occasionally
RAMOS: Andy liked to put people through painful experiences
and those can sometimes be very magical
ARROW: well I never considered his sadistic side
RAMOS: that's the only side i see for some reason
ARROW: but yeah, you can talk for hours about Warhol
RAMOS: we don't have to
so the poets
will their poems be an homage to Giorno?
ARROW: I like to remember the Andy eating a McDonald's hamburger or appearing on the Love Boat television show.
only two poets
one of which is John Giorno
RAMOS: oh wow - i didn't realize he would be there
who gets to be the other poet?
ARROW: Ryan Van Winkle from out of town too
John Giorno performing in Miami is kind of epic
RAMOS: yes it is
I am definitely going
ARROW: I will be having fun
as I have been mapping out the possibilities
and cannot wait to show up and do something for a few hours
Untitled (John Giorno), 2016
(2) 35mm slide projectors (160) 35mm slides, polarized slides and 16mm Film projector, Andy Warhol Screen tests Collection of the Museum of Modern Art Circulating Film Library
Images courtesy of Institute of Contemporary Art, Miami (ICA).
Photo: Sonja Garnitschnig.