“In an era of status updates, tweets, and check-ins, the geography of public, shared spaces needs to be reconsidered, along with our expectations of privacy in them.”
–James Coupe and Juan Pampin
Have you noticed all of the changes on the façade of the Henry? We are currently installing an interactive art piece, Sanctum, created by artists James Coupe and Juan Pampin. Coupe and Pampin were chosen in 2010 from 91 applications who answered an open international call, soliciting proposals for a site-specific project to transform the façade of the museum’s main entrance and to engage the UW population and the many visitors who pass by the Henry every day.
Sanctum, which officially opens May 4th, seeks to investigate the narrative potential of social media while raising important and provocative questions about the conflicting imperatives emerging in our culture as we promote and embrace ever-more-intrusive electronic media, while still cherishing traditional notions of privacy.
From those who choose to participate in the project, Sanctum will actively gather information via sophisticated surveillance and profiling technology and match it with data drawn from social media sites to shape original plausible and implausible fictional narratives.
To learn more about the project and to contribute with narrative content, please enter here. You can also opt in by scanning the QR codes are posted on signage outside the museum.
Before you check out these works on the artist’s website and partake in his lecture Thursday night, check out this project overview video of Today, too, I experienced something I hope to understand in a few days:
Finally, for all you The Talent Show fans, “like” it on Facebook for up-to-date news on its concurrent events. Please note that by “liking” this page, you consent to having your photos used in conjecture with the exhibition. We felt this was highly appropriate for the themes of our show.
Radio reporter and host Jennifer Wing ponders the themes as well as specific works of The Talent Show including questions on the new idea of privacy and professional examinations of the societal draw to the spotlight. The exhibit raises a lot of questions ranging from how much should we put on display to what happens to our images once they are out there. The reporter’s final warning is if we don’t take control and manage our social media selves, someone else eventually will.
The review includes audio snippets of several Q&As among which include curator Sara Krajewski weighing in on the exhibition’s themes and specific works, and artist Amie Siegel, who discusses her process of creation for her displayed video works, My Way 1 and My Way 2.
The Talent Show examines a range of complicated relationships that have emerged between artists, audiences, and participants in light of the competing desires for notoriety and privacy that mark our present cultural moment. For almost half a century, artists have modeled and exploited these desires and dramatized the complex dynamics that surround them, often engaging people to participate in their work—both with and without their knowledge.
The documentary We Live in Public reveals the effect the web is having on our society, as seen through the eyes of “the greatest Internet pioneer you’ve never heard of”, artist, futurist and visionary Josh Harris. This special film screening will feature an introduction from King of the Web CEO and online marketing pioneer, Maggie Boyer-Finch who will be discussing the launch and development of King of the Web, a site which is redefining what celebrity means in a digital world. You can join us for this event on August 5 at 7PM. Click here for admission prices and more info.
You have oodles of chances to see the widely talked about The Talent Show until its closing on August 21. And, in an excellent example of some of the exhibition’s themes, go ahead and like it on its Facebook page.
“The Talent Show” draws heavily on found objects in its mix of images and sculptures, including the “found behavior” of people who, on video or in photographs, come under the camera’s scrutiny. Sometimes they’re aware there’s a lens pointing at them; sometimes they’re not. In several instances, they’re collaborating directly with the artist. In others, they’re deliberately sequestered from the person behind the project. Those considerations, more than any particular fine-arts aesthetic, are the operative factors in “The Talent Show.”
Curator Peter Eleey connects these works with the recent rise in TV reality shows and talent contests and social media. They’re linked, as he sees it, by what they reveal about “the competing desires for notoriety and privacy that mark our present cultural moment.”And here’s some great upcoming events and opportunities to come see “The Talent Show” for yourself: