S1 E3: Guerilla Gowns and Performance Crafting

My name is Drew Mackey. I’m uh, arts writer, uh, pop culture writer and uhh
news editor. I actually knew Danny back in college we
work together very casually for a few years at the college paper and then I ran into him again at a
gallery show here in L.A.. Danny Heller’s process is, uh, awesome. He gets to drive out to palm
springs drive around and look at nice houses Uh, take pictures of them. Uh, sometimes
contact the owners and ask if you can stay inside the house and paint on
premisis the paintings itsselves were
interesting to me because it’s this beautiful Southern California
landscape that a lot of people would have good associations with. Bewt at the same
time they’re kinda sad because they’re
depicting an era that came and went. The absence of any sentient life in those paintings kinda hints at that in a way that doesn’t get
you until later. It’s almost like it’s a memorial to that lifestyle like a tribute to
something that we’re not actually gonna be able to experience ourselves. I was born and raised in Southern
California in Los Angeles. That lead to my
discovery of mid-century architecture and to set this great curiosity for all
that stuff that eventually led me to to Palm Springs which is pretty much the mecca
of mid-century architecture. I came out here in Palm Springs was
the red-headed stepchild of the desrt. Nobody really cared. You could have bought every
house on the street and it was cheap because nothing had been
renovated or redone. Everything needed work. I drove into this
neighborhood and I was just, like, stunned because it was like a time warp a neighborhood. Then I go, this is exactly what I want. I join
the Palm Springs modern commity very early on. I’m a founding board member of it and I got some renderings of what all
these houses originally look like so I wanted to restore it back to its
original look. And photographs the Julius Shulman took in color of the house right after they were built
really inspired me to do it because I saw how beautiful they were. I guess I’m sort of an originalist. I love to reproduce or recreate or bring back how things were when they were first
done. If you change things then you’ve wiped away history so if you
can look at what was there and replicate it you’re preserving it for future
generations and you’re creating something that’s real and authentic and has value. There’s an awareness brewing in
happening where people are looking for the
authentic not the whitewashed viewed through
rose-colored glasses version of the fifties. This the original ORIGINAL steel door. I mean, this’s These’re not even aluminium. These’re ‘riginal steel, so…. these are to be preserved ’cause you
can’t get them anymore. William Krisel is delighted that I’m working on another one because it just
helps too really solidify his legacy I think. Modernism is
a very precise architecture- it has to be kept pristine n’ so making them back to how they were it shows off his
are essentially and so that’s what I wanna do. One thing that really blew me away was
how well-preserved all those homes are. In a ways it was like
a mid-century Disneyland for me’ I- uhuh. I was able to drive around and just be
inspired and take lots of photos and it had such an impact on me that for the
last few years I’ve pretty much focused on Palm Springs
paintings. It embodies that Southern California spirit:
the sunshine, the palm trees, the laid back vibe, bright colors, classic cars– It’s iconic and it’s almost that time
capsule not just because the mid-century architecture but because I have that ideal that I
think people still chase. Stew Williams the original architect for this house,
his mission or idea about how a house should be built, is simply that a house
should look as if it grew out of the ground rather than looking like it fell out of
the sky and I think the Edris house embodies that more
than any house I’ve ever seen. I had a very full life in the Bay Area, I
was ultimately the mayor for the city of Sausalito.. and love my life there but I needed a break and my escape, my
runaway was here to Palm Springs and I found myself sitting in a plane
heading north and looking out the window and looking
back and not wanting to leave. So without a lot of thought and absolutely
no regret, one day I picked up and moved here full time. Palm Springs modern committee
was formed just a few years before I moved here and
I got involved in it very quickly and it’s preservation organization. that’s simply focuses on modern design. I always supported them and ultimately am
now vice president of ModCom. I’m also the Planning Commissioner here in Palm Springs. So I guess you could say I’m very very involved. I recently took on a
million and a half fundraising campaign for our local art museum, the Palm Springs Art Museum, because we’re about to open a architecture and design museum here in
Palm Springs the first of its kind in the country to
have a architecture and design museum, freestanding downtown in a vintage building owned by an art museum. Most people walk in and they get thrown back to sort of the era of
madman. Being completed in nineteen sixty it
very much speaks to that era and its gonna go right back to that. We
still have these great old swinging panels, these beautiful metal panels. Notice this beautiful old handrail all aluminium, beautifully
designed. I always refer to this building is a
little jewel box because it looks almost like a little glass box
sitting on a pedestal from the outside. Everybody loves this building and when it’s
lit up at night it’s just magic. One of the most amazing things that’s going on in Palm Springs right
now is because of all our work in preservation, n’ sorta the love that we’re bestowing on the
city, in terms of preserving its past and carefully molding its development in the future, we’ve become a true arts and cultural center.
People’re coming in droves! This is the place, once again, like in the thirties forties and fifties,
that people want to come, hang out at pools, have a great time, live
the Frank Sinatra martini lifestyle and its all here it’s never changed. We
probably Double our population every weekend, who wanna live that martini lifestyle that we get
to live every day. There’s a bit of nostalgia to my work but
it’s just escapism. I almost think of the paintings as
stages; I’m setting a stage this is the place, this is a landscape that
people can embody and the viewer will bring whatever they
want to the painting. It almost gives people
access to this vacation world of Palm Springs. We’re all very proud of achieving the light-speed that
allows us to come here and participate in this because being from
the midwest, ya know, we saw it in magazines n’ the showman books; we saw it in the
movies and it really was a dream an’ then it– find that few can actually come out here
and BE in that movie you know, sorta the Hollywood, California
lifestyle. Now we call it preservation through neglect, ya know.
Uh, there was twenty years where nobody came out here and all these places are still
here so we’re able to participate in that and bring them all
back and then, of course, in Palm Springs
something is different as it’s always warm we could stand around their bare feet, and we
can drink all the time! [raspy laughter] Lots of drinking in this– you know, I didn’t start drinking liquor until I was fifty. There’s a lot of partyin’ goin’ on out here, ya know. An’ you’re only a couple a blocks away
so it doesn’t matter what kinda shape you’re in. You can make it home. And
everybody knows ya! Ya know, they recognize you car n’ they go, ‘oh
yeah I know where he lives.’ I’ll get’m home. ‘s’a fun town. [sigh of laughter] ‘zactly on a south north axis so we get
these perfect sunrises and perfect sunsets an’ you get to watch the migration the sun through the year. Deers dis constant play of light, shadow, mountains and sky. With any community or any area that’s considered iconic,
you can get maybe a little bit cliche. Twenty-seven
foot tall Marilyn came to town n’ people’re coming from all over the
country to see Marilyn standing in the iconic stance with her dress blowing up. Of
course we’re a little bit cliche. People crave history, they crave
character, they crave a little bit of trouble.
Hollywood came to palm springs to be bad. This is where they could be bad and they could hide it. This is where
somebody like Liberace flourished and nobody cared. Nobody toned anything
down in Palm Springs. it’s still that way. People still come from all over the country to have a naked
frolic in the pool under the moonlight, if they like or
to hang out in restaurants and not be
bothered. Frank Sinatra was in the phone book for christ sake. Oh my God, look, we fell into a magic place. This happens a lot here. Um, where’s Mark? Hey you! with the original yeah How are ya? Good. What is this, the original Fontanelle? Yeah! This is what helped us and informed us on what to do. The Fontanelle Is sparkling. Onzzz you’re in thuh zhanctuary you really have no.. idea what.. year it is and there’s nothing to inform you about that. This is the Palm Springs promise [jumbled voices] the suns gone down the mountains are glowing. It’s just amazing. My paintings are doing well I think fortunately I’ve always been interested
in painting things that people gravitate towards. I’ve had been able to
develop uh pretty good collector clientele down there as well as up here
I think there’s a lot of people that love Palm Springs that go there as often
as they can but, you know, maybe they can afford that
vacation home down there so they do want to have a bit of Palm
Springs with them up here in Los Angeles: palm trees and blue swimming pools with pink inner tubes; classic architecture n’ sun reflecting off of the chrome of a beautiful Cadillac. It is
sort of this American ideal and it gives people I
think a sense of comfort. So that something that I think I do capture
in my work, whether its conscious or not and I think that’s
something that a lot on my collectors have gravitated towards. I’m Ted Quinn and I live in Joshua Tree where I’m a musician and writer. I met
Shari Elf at the Beatnik Cafe. Which was kinda the
hub of the scene in Joshua Tree several years
ago. She makes art from found objects and trash. I’m wearing
a Shari Elf t-shirt right now. It’s one of my favorites: ‘Black Hole in Space.’ When you stop in
Joshua Tree, if you stop in at the Art Queen, her t-shirts are like ten dollars so, you know, anyone can afford one. It’s very
people’s art. What she’s done with ‘Art Not Walmart’ is she’s invited the
community in to do this with her. The economy in
Joshua Tree is sub poverty and they’re not making a
lot of money from the art but they’re finding that its so much more
satisfying to make art. The second Saturday of the month is an– is a gallery crawl. So all the
galleries open their doors in the evenings and Shari’s are always very homespun very a no pretension at all. The band on the
stages not necessarily the slickest musicians they’re just very very real. I think
thats what’s extremely charming about Shari Elf and
the Art Queen. Art is flying of the wall. It’s incredible. Welcome to the world famous Crochet
Museum here Joshua Tree, California. This was an old Photo-Quick building and it was sitting by
the side of the road. I really wanted this building I didn’t know why I thought maybe I was just gonna put it in my yard and
they all came together when I realized I could put my crochet
museum in here. I like the crafts of old ladies. I sometimes say they are goddesses. I love that they’re so human and they’re so made
with love and made with heart. They’e colorful, they’re happy, they’re playful. Every estate sale, garage sale, church rummage
sale, thrift story I went to, I would find all this crochet goodness. I love these cups crochet Oreos. This is
a crochet taco. I’m really fond of the
poodles. This is a very large poodle wing I have here. We’ve got Bert and Ernie and during one of the gay prides that we have at Art Queen sombody stuck that sticker on. Basically I’ve jokingly said that I’m unemployable because
I don’t like working for other people. So I’ve had to make my own jobs. I’ve been a
house cleaner. After I was a nanny for a year I decided to be a seamstress and I was doing my art and had a bunch of art
on my walls and friends were saying, ‘It might be time
for you to actually show your art somewhere.’ heh! ‘to someone.’ And so around that same time I
messed up three customers’ sewing projects. They were upset
and I’m thinking, wait a minute, I’m getting yelled at for something I’m not
really enjoying anymore… I think I’m gonna try to support myself
on my art instead of my sewing. Because ‘seamstress’? you have the word
stress in that. Hehe! And, I just eh, it was too stressful! I have a song
called The Seamstress. I wrote that song at the time I was
transitioning out my job in to an artist which is pretty cool. I often tell people they- if they wanna
transition out of their job to job you wanna be doing, just write a song about it. I was
charging twenty dollars an hour for my sewing business, so I’m gonna charge twenty
dollars an hour for my art. I’m gonna take it to the flea markets…
so when I see people working at a job and I think that maybe they think they
have to work there forever I feel so sad because I busted out of
the box. What if people, instead of working for
eight dollars an hour minimum wage, or whatever it is, are willing to work for
eight dollars an hour do their art. This was a painting I did recently:
Jesus. And then I also did a Jesus with his kittens painting recently and I
thought they were so cute that I had to make t-shirts. The germination of
the whole idea of Art Queen was we wanted to show art that you weren’t gonna expect seeing in just a
fresh and new way because we didn’t have to make money here so we just have fun with it
and discover artists that we thought were
interesting that you might not see. We, in Art – Not Wallmart, right now are meeting every Tuesday from two to five P.M. here at Art Queen.
When you’re continually meeting together we get to know each other. It’s kinda
like through therapy in a way. I just see signs of all of them getting
happier, more confident… they’re having a voice that’s being
discovered in each of them as an artist. I love what Shari’s doing because– I’m here to tell you, I use
to clock in at Walmart and is no fun! It will kill your soul! I have.. other people to share with.. how… th– my creativity and it’s really nice. It’s-
they’re very supportive Dey’re buying all my paintings. I’m vewy happy. Well, my son… he has autism… For the first time in his life. He goes to group every week and he paints. And he joins in in the group painting. And.. It’s just been so amazing. It’s just been so amazing. Good job, dude. Yeah! Stay outta Walmart, dude. you’re– you’re uh– you’er off to a good start, man. There’s nothing like selling a
painting. Last night I bought a painting from Nathan
that I really love. His Jesus painting and he was so happy– Ahaha!– that he took two
boards home to paint some more last night. What I’m hoping is they will learn to
find their art and that their art will take them
wherever it’s supposed to take them and this is just a starting point to get
them together to do theirart every Tuesday and to have the support
around them of people saying, ‘Wow! I love that! I love that!’,
and people buying it and getting confidence. Maybe I’m taking
myself seriously as a mentor as an elder that wants to help nourish people that
are just starting or that have promise and creativity to
help them develop more. Ma name is Drew Tewksbury, I’m the
managing editor of Artbound. And one a’ the great things that we
do at Artbound is we not only produce videos and articles but we also help artists to develop their
artwork. One a’ the artist that we’re working with first, was Tanya Aguiñiga, she’s an
artist from Tijuana but she lives in Los Angeles.
Tanya started a series called performance crafting where she takes her
crafting works and put it into the public. And she did this in a series.
Her first piece was where she went to Beverly Hills put some coins into a parking meter and did
backstrap weaving in public. The second piece that she did is called
Felt Me. Tanya is really well known for taking Eames chairs and folding chairs
and covering them and felt and then she wondered what would happen
if she traded places with the objects that she creates. What if she was covered
and felt? Often crafting is seen as a domestic art
and it seems that Tanya is trying to move it away from
that; To recontextualize it and make it something more proactive;
something more edgy. Cause you could still, like, move my legs- like under my legs and stuff. Yeah exactly. I think maybe you should
lay down. yeah I just wanted to get this part– Should we get the backs of the legs first though? You shouldn’t pre-make a bunch of… hot water things? …because it’s gonna get cold. I don’t think this has ever been done before, ever. It’s never ever been done. I think you just need to be
constantly like: warm water? …otherwise… uhhh, I’m ‘onna not last very long. Okay! You’re ready, it’s ready. …okay. Big pieces go on first? The big pieces are gonna go on first doing a dry-rub. The general body shape? And then you’ll start getting it wet… and then start putting on patches to cover important parts first. I’m always… questioning what I’m doing, what the next
thing should be how I am pushing my own boundaries and the boundaries of my medium and be an innovator, not just in the way that I use
materials but in context. I have been thinking about
doing things that were more personal but then also doing things
that were performative and taking craft into the streets. Materials in craft are materials that we intrinsically connect to as humans and I think that’s
what’s really amazing about wool: when it’s used
in a different way people are very shocked by it, but people
are immediately connected to it. I grew up in Tijuana, living in Tijuana but going to school in San Diego for
fourteen years across the border every single day. Going through that experience I
witnessed the huge difference between really bright, really loud very textural Tijuana… and then very minimal and calm and organized San Diego, influenced the way that I turned out to be a very visual person. My
work is very craft-centric, it’s very process-centric, it’s very material-centric. The felt
Chairs which are behind me were part of that process of me trying to look at something that was
very industrial, very cold and very impermanent because it’s
something that’s always folded and put away, folded and put away,
and turning it into something that was permanent, you’re forced to live with
because you can’t fold it anymore. It’s no longer cold. Its warm, it’s
inviting, it’s comfortable, it’s something that takes at least 25
hours of hand rubbing to get the wool to make the skin around
object. So beyond the end result being this pretty thing that has this new fuzzy coat on it, the process of making
it is the part that’s the most important to
me. Chairs are very anthropomorphic and it’s
something where people are always talking about the back about the legs
and they always associate it with human form. People are always like, ‘ Can you felt me?’ And so
it’s always this really weird thing and so i thought well that’s what they
want… then what if we didn’t do it? You know, how people react? That’s the beginnings of me being felted A lot of it was about the artist as object. And artists being objectified by other
people. What happens to me psychologically when
I force myself to become an object? I really wanted it
to be up big participatory event I wanted
everybody to be hands-on involved and I wanted to… in a weird way, let them into my world? My friend, Amy and I were talking
about it and, ya know, she was like, ‘We could just put it on Craigslist and see what type of people come and see what type of
people would be drawn to hand felt seeing a person,’ you know. And the more I thought about it I was like, ‘No! I don’t think we can do that!” I really wanted to have some people I really trusted to be part of the process. Uhhhg! When she was standing up, I mean, that was really peculiar! When you think about– I mean, I don’t know. Is this a– what kind of an experience is this for her? Does it hurt? Is it sexual? Is it exciting? Is it boring? Have you ever
had this much attention for a few hours? Of course not. Should we just do a ninja? No! You want the whole face?! Do you have guaze or anything that you can– You shoulda put goggles… [snort laugh] Yeah, you shoulda put goggles! That is a good idea. MmmHmm. Should we get some now? Or those little, like, tanning things? Yeeah, huhngh. Can you give me the spray thing? As soon as my face was covered, and then I became an actual object, everything just really
changed I think for all of us. and that’s when it started to become a
little bit more like, oh my god, and it’s weird because at that point I
don’t feel like I was part of that experience at all. I don’t know what it looked like. I don’t
know what people’s reactions were. I could just gonna see shadows of
people coming in now and out and people looking outside the window. I was
completely not present in that entire performance. Ooo! It’s so scary! ‘Cause it’s just like a body! Doesn’t look like a person. What kinda signal will- can you give us if you’re not okay? She’s an object now. Okay, okay. I’ll keep an eye out for that. You can breathe? It was so incredible, just the whole look of it. She’s so…. actively involved in the making of all of her
pieces and I thought the thing that was so amazing about this piece was that she
wasn’t doing it. Really in a way relinquishing the control. It was very personal. I think
a lot of people felt really uncomfortable with being
that close to me and engaging with my skin.
Nobody really surrounded me everybody was just line up against a
wall… which really added ta this whole experience of being an object. When I talk
to some of the people that were helping, they
told me, ‘Well, you know you weren’t naked. You were covered in wool, so we never
thought of you as naked. It’s like you’re wearing a sweater.’ BUT, I felt really
really naked the entire time. And every time I would
look down I was like, Oh My God! Ya know! I’m totally naked! Being rubbed by all these people. And so it fell at times very intrusive, very uncomfortable, very vulnerable. I was starting to feel like I had to
meditate through not going into hypothermia. At one point… it was just a very
physically and emotionally demanding thing to do. When Tanya felted herself, in a way, even though the
form was clear it was one of the most
abstracted pieces I’ve seen Tanya do. It isn’t
like you see an Eames chair or a folding
chair and immediately recognize what it is that’s
been transformed. One of the things that was the most fascinates me was when she
was being taken out of it. Seeing this body laying in effigy that sort of shroud of Tanya. It was
amazing to look at the piece. I think it’s it’s really awesome that the feet and the hands and the head are so… so structural. now that, you know, I’ve been around
every day as it’s drying, as we kind of lay it out see
what it looks like, whenever I forget about what it is and what it represents, and I see it through
the corner of my eye, it’s really weird because I has such a personality. I
walked into the studio and saw it and I was like, oh my god, that person’s legs look like
mine. and then I was like, oh my god!– those are my legs! And so it’s really weird to see yourself in an object so directly and so
I started to kinda relate to it in a really different way. Where it’s
its own being. The more time goes on that I’m way from the actual experience and doing it, it’s
something that is really important to my development as an artist, to my growth
as a person and so I don’t want it to be one singular event or
expression. I’m kinda thinking about doing it
again but in a totally different way. We don’t know yet. Imagines like standing
against a telephone pole there and getting felted in place and having them have to deal
with, okay, she’s felted here. What do we do? My name is evince n and I’m have arts
writer for are found in the Orange County area
well rich county has a lot I have superficiality there’s a lot of visually beautiful things visually tween everything is kinda streamlined and
really really nice looking and I think that there’s something about
bridal gowns and beauty within brides that is very superficial and very beautiful a and and the india-based in the performance the nine who compose
the really down performances they do a
choreographed routine in a way and that kinda if brings
themselves together as as women as I sisters symbolically and then they experience their own
personal feelings and moments with their wedding
dress and with that at symbol of change in a woman’s life the moments that you
see each wannabes girls with their objects in with their dress stayed look beautiful on the outside but
once you see them interacting in there own personal moments it is very intimate it’s very personal a lot of the women that standby and
witness they start to recall their own memories
being a bride in traditional feminist performance art
from the 60’s 70’s early 80’s on the women were very aggressive they
were very loud they were proud and it was new and they wanted to be
heard my generation have feminist artist Sir seen that they don’t need to be so loud
and are taking a taking a quieter route but still dealing with those same issues mall mom your you mu them more you it you mom up 0 you moons well I’m thing on 0 theme I’m this this months yes this send we are a group of artists who are all-female course well believe in equal
rights and we’re working together discussing what is uniquely feminine this went we deem are interested in femininity and the way I feel is I want to enjoy my
femininity we weren’t raised seems extreme oppression we know it still
exists but we don’t have those visual representations in our own families I
was raised as an equal of course nobody in my
family ever told me that I wasn’t then when I encountered feminism the
bigger picture I felt like about feminism walked left me out
because I I am feminine and it was like you know
I’m back off and let me enjoy my femininity without judging me as a week inferior
ignorant for to you so then the question is how do we or can we embrace femininity and release it from a traditional bondage low y’all Jets that was cool from hijacked
right that weaver hmm that they backgrounds either broken dreams or future dreams or just are other
situation SAT yet that I like individuality the
multiplicity very end mine dress that’s not specifically
referencing upgrading that around the house s but
it’s basically about empowering yourself as a poem the idea of the his reflect upon you
know economic and social empowerment all
almost like for me a metamorphosis he almost transition 01 place to another when you marry mom said when the things that made me think
about was I the importance that a lot of cultures
like the Middle East and Mexico and a live cultures put on on
virginity and how that that white dress is
misrepresented sexual Perry and I hope that through our performance
in your state of mind in through the way we separated from from marriage in a sense and make the
dress hours in our moments that we can start to have that white dress symbolize period mind in purity of heart as
opposed to sexual ways I was thinking about the dress you
know in viewing in APEC meeting it would be
so simple essentially 0 my life up things that
I’ve observed experience and then you know so the
birthing you other than you actually cutting the
dress of to you were making this yourself me to tears wallpapers you make it will be like in order to
like in March for them retrieve it von you hold it doesn’t like her the night there we’re sisters all se Canso so come together net need help one another for me and the
whole process has been this like Bennett ritual sisterhood and self-exploration a
lot of ways to do it with a straight thinking about you what is it you to leave that now what assets are there you know moment it’s a sister and mother and
cooler and artistic destroyers you my name is Robbie herkst am a writer with art pound when I first heard
about August notorious disaster project I was immediately intrigued she’s an
artist who in the past has worked with the issue of foreclosure and property
ownership I few years back her and Andrea Bowers collaborated with
max per mile who heads an organization in Miami call
take back to land take back the land is an organization that interested an seizing foreclosed properties for homeless
people to live in were captivated me about net worth
possession was augers idea that squatting could and
should be art there’s a formal element div id as a
worker sculpture she worked with collar she works at form
she works with spectacle those are traditional items that
artist’s work with them beyond that there’s a hole tho so practice level are the project in that she’s doing a
project in a neighborhood that is affected by and affects the
community around it n is and dialogue with that so there’s at least three levels of
complexity that are in the work and all those playoff on
another in a really vital way hi you stated yet work television about producer and were making a story about
his house actually yes yeah have something it has been the typical 111 notice yes I said yes
n/an/a and me any is something no or a make or get stuff
from no with isn’t I know I was that the
Great Plains a Friday with a rather like to have my what they say rainbow inside is very strange the way they have
the house I an artist actually painted all gold
and yeah I know inside you know the guy I
know the artist all that’s why so you’ve been inside the
house yeah I or II so far worse the later but
I come out to see what’s what’s is is going on inside how much is a housing for 99 office 2007 the city ballet has witnessed over 60,000 foreclosures the majority those foreclosures you see
the working class folks are struggling to stay above water in
northeast we do have a significant presence given
this crisis we’re going through what we have found is you have been in the house and when the bad guys in the area those who would
take advantage to abuse these locations and I’m squatting using it as Dan’s for drug transactions taking cars that they still in this trip
a lot of bad activity occurs there’s no care for the yard if see the
weeds building up broken windows and it becomes almost cancerous to that
block my practice dozen really bring in financial support I been and well-respected exhibitions I’ve shown internationally I do what
they do because i’ve a commitment to cultural
engagement and that’s what most artists are 10 she has always been interested in these premises of the American Dream
and this Smith that if you work hard enough you
can pour yourself op out of your class prepare yourself
into a save middle-class miffed that especially
recently have started to disintegrate for majority of people we bought this house four years ago was a foreclosed home the
first home we have our own a week after moving into
it and signing the house my partner was laid off and so we had been
nothing but very very scrappy in precarious since
then it was really a desperate time maybe there is a certain scrappy NIS that is
necessary to survive and proceeded to come up with
the idea maybe we could live there that house is
much nicer than ours here and then rent this one out that we owned
and then we could get ahead a completely believed the house was
abandoned so our idea was to go in there and live
we went over there and went into the house but actually
found out that was just too uncomfortable to do there was a box address to the previous owner and it was a box to hold cremeans and that was
pretty intense I bring up this cremation box only because that is the over link to
making art for me because I felt an obligation to somehow bury it or deal with it I just hated the
idea that getting thrown in a dumpster when the bank comes in and does that
trash out where you folks from matter 140 where you guys from with the new owners at his place you go
the more right here do you have any documentation have your
ownership come here where we can work it all out
sounds good adverse possession is just certain old notion in the log that arises out of
the fact that frankly to beginning of time nobody
holds the title to anything people you lives property and when they utilize
property for long enough the property is acknowledged within the community to be
theirs and for those reasons going way back
long before anglo-saxon law there’s this notion embedded in sir
communities with respect to the land that it’s
important to reward use as opposed to some sort of formal
title to the land and that notion in
anglo-saxon law gets played out in this idea the adverse
possession I wanted to make the entire house in object so the way to do that was to coach the whole thing in gold it
also became commodity and as a commodity that’s the
way the market in our culture at this time is working
with these houses units buying and selling and flipping and its to make other people money and
kinda losing sight I love its function a shelter as its
function as a container appliance I went kinda been a crass way make a goal to make it shiny we’re gonna
make it gilded since the sixties and seventies bosses
have attempted to second then predictable art world and art market strategies and
structures by taking aunts outside of their gallery an established museum context and by
doing that’s integrate same all working where a much
wider audience and they’ve been doing that by number different strategies us trustees
such as a family rel and transitory works site-specific installation one of events and actions and performances all this house fits
perfectly into this progressive social context by painting and gold the house
distinguishes itself from other houses but also calls attention to
the number of other foreclosed properties in my time spending months in there now
I started to noticed there was a lot I love rainbow paraphernalia in Gay Pride
paraphernalia everywhere what they put up on the walls was this
expansiveness that was beyond their boundaries I was
thinking about what’s sort of a joyous signifier love this unbounded sky and I thought the rainbow
and I also thought about the pot of gold at the end of the rainbow the house being the pot of gold and this
rainbow was bounding in bouncing through the
interior hunk that context involve this work is so important instead have choosing a
gallery for an institution have art to produce
and present to work she’s choosing a home that potentially moving into
foreclosure proceedings it’s really a site have shifting
transitory in states the property rights are in many ways in
limbo at various stages in the foreclosure process and the question I have whose property
this is in this moral notions that we have about property become influx will be interesting to see what the police say yeah you you relied
for artists doing a project here your where van you
know I do realize is that doesn’t matter what you tell me
met with the law enforcement you can lie to me that’s why was I so we want to make sure
long course here it’s not simply a morality play she is in fact questioning the paradigm
but at the same time you can’t even understand exactly what
the paradigm is weak am I in foreclosure am i okay to be here year and with I got to do with anything human
beings side to have gotten very few adversity think that’s me somebody
property you alter face the property for artistic purpose that makes it okay
that makes a big rebound Roy it was abandoned and neglected that I
see no my with independent if it was what
gave you that might become the position up bro you understand the law and you guys
should read the notice silicon you don’t just come in the side
that’s something I belong to somebody else yours going to make a decision and you know
altered the face it you once I finish painting the exterior and the interior a lotta people from the community and members
have the art world have shared consistently with me a lot
of problems with the peace lotta conflicts around if I’m being exploitative artists get to control a lot in their studio and we get accustomed to tying up all the questions and all the content
and this one %uh there’s just so much out %uh my control it’s not even funny so the
obvious situation happened the police came and
their supervisor came and remove me pretty much she was just
cut and dry she wanted to look for proof that I had
lived there and the fact is i’d never lived there
yeah okay who do you fear into I don’t keep okay how is it that we all have to pay
mortgages rain you know coming this is an artwork that kid gloomy this yield the world can you show me any type Cape York have
rights to you racism I want you to show me proof as to how in who gave you permission to live in do
you have it no I don’t okay do you understand you
can be arrested for trespassing you have no legal right YouTube at home when all get contacted
me she had a number of issues in play she
had this art project notorious possession she was faced with potential eviction or raste or wasn’t clear but she was very concerned
that she was gonna lose contact with the project that she was not going to be able to
complete the process that she’d be gone and immediately it
occurred to me that there were issues concerning squatters rights adverse
possession and potentially statutes that protect artists work and the integrity the work
that might be in play here ma’am has requested you to the office
property now this is right here and I’m telling
remove yourself from the fact that you have no legal right to I had stone candice is that we’re tight-fitting on top so the gold paint
can be sprayed on their without damaging the tiles because I
knew this was a short-lived project trying to respect the new owners that
eventually we’re going to come and asked the company that bonnet that
they would permit me to remove those canvases that’s all I
want the visual artists Rights Act provides protection
for work I’ve recognized stature the statute itself defines art as
painting sculpture prints and if you really push those
definitions so that they take into account
contemporary developments in art and culture then it’s an argument you can definitely make that to the
entirety have the structure itself is essentially an
appropriate and found object appropriated from the foreclosure market painted gold
making it a-ron its appropriation on the ski love real
estate a question i’ve ethics in relation to
August project is particularly interesting there’s a kind
of a naive it a and an absurdity to her activity and within that i think is an ethical colonel and that has to do with thinking
about this in a much larger context if you think
about that on ethical banking practices and
unethical loan practices and that much larger context up what was
happening with the financial is Asian up the economy and the absurdity a bad it’s almost as
if the psychosis around the economy
warrants these minor gestures that do you have a
kind of strangeness to them one other things that i think is interesting to
think about a slightly broader context is what happened to the
Occupy movement and the way that within the Occupy
movement there was a number of people in many cities
including Los Angeles who tried to shift from the notion of
encampment more towards foreclosure protection and
so I also see what all guys doing as an outgrowth have and in relation to
you the Occupy movement where the violent evictions above the encampments
by the police in many cities ended up with
people developing more dispersed strategies and obviously one of the ways that I think
that’s been successful and people have struggled around is this
idea of sorta defending people’s homes against
foreclosure where’s your favorite band augers rights under farrah intersect
with her attempt to adversely possessed the
property she was evicted for her work still occupies the
property and its because of those much more than the squatters rights angle on all this
that we’re in negotiations at this point with the owner to get or get back into the
property to allow her to finish and complete documentation ants
remove all the works of art which can be removed without damaging the structure as a whole and without
destroying the works of art themselves if Aug I recover us the canvases that she has installed on the roof of
the house and that she has painted then I very much hope that I
were be able to sell them I think they’re
important documents of this performance Co the harsh reality is the city cannot be
participating in activities that are illegal whoever
owns interests in that building is in a position to say why are these
folks squatting on a property but from a pragmatic point of view you
haven’t empty house that is probably in some ways portfolio
on and there’s even know it exists and the question is can we as in local
municipal government move fast enough to start bridging these
gaps break through the silos and start moving
in a direction with these homes can now function for what they were truly meant
to be a place for family to live car yeah that’s all after yes Ste just give me you 30 it now to last term two MRO Maj mine its slow the Visine home tomorrow and then easy June do miss yeah hand mom do you and if that sounds thing class duo I loved this this museum you soon fancy just do yeah the zone 0 yeah used to it huh sometimes why existing just downtown homes you Jong and away doing bad yeah do we had one it is served streets man I’ll the season bro I hope you just just and me these %uh yeah first term sound as well goods is best now yeah Food Bank dust just do the zone yeah first served some sounds good root systems some towns were good seasons I loved you listens now yeah food

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