Inheritance is available as print on demand – please click below. I do not make any money from the books, the price for the book is the vendor’s fee:

INHERITANCE

By andrew mount

Book Preview

Files for Application to Assistant or Associate Professor of Fine Arts - The College of New Jersey

Please click the following links to view the attached .pdf files, or alternatively right click and download.

1. Letter of Application

2. Resume

3. Teaching Philosophy

4. References

5. Application materials including (10mb+):

–Artist statement
–Images of Artwork
–Images of Student work

Andrew Mount   Curriculum Vitae

102-12 65th Ave #D33, Queens, NY 11375  •  315 440 5052  •  alm2129@gmail.com

download pdf here

Education:

2011                 EdD Interdisciplinary Studies in Education, Teachers College, Columbia University

Concentrations: Participation, Dada, Fluxus and Relational Aesthetics. Dissertation: Participatory Art Practice: What Does it Mean to Participate?

2000                 MFA Fine Art (Combined Media), Hunter College, CUNY

Concentrations: Installation, Video and Sculpture. Thesis: UHUH_UHYEAH: Distance Prevents Urgency, Or, Time to Look is Timed to Luck.

1995                 BA (hons) Fine Art (Painting) University of Reading, Berkshire, UK

Teaching Experience:

2007 – 2009       Adjunct Professor, Syracuse University

Courses: ‘Foundations- Time Arts’ (Practice and Criticism); Art Education- ‘Museum & School Connections’

2006 – 2007       Adjunct Professor, Cazenovia College

Courses: Fine Art- ‘Drawing’; ‘Critical Theory’ ; ‘Creative Process’ (Practice and Criticism)

2004 – 2007       Adjunct Professor, Teachers College, Columbia University

Courses: Art & Art Education- ‘Drawing’; ‘Independent Study in Fine Art (Practice and Criticism)’

2003 – 2006       Adjunct Professor, Metropolitan College of New York

Courses: Arts Administration- ‘Business and the Arts’; ‘Arts Administration’; ‘Developing a Business Plan for the Arts’; ‘Managing Economic Resources’; ‘Producing a Media Venture’.

2001 – 2005       Community Art Project Coordinator and Instructor, Flux Digital Art Space, NY

Courses: ‘Myself in the Community’; ‘Me and My Money (Co-Developed with Christian Nguyen)’; ‘My New Babylon’; ‘Exquisite Corpse’; ‘Digital Word’; ‘ReDesign’!

Professional Experience:

2009-2010              Say Yes to Education, Syracuse University, Site Director

Responsibilities included: Strategic Planning; Site Programming and New Program development; Fundraising; Staff oversight; Inter-departmental Collaboration; Site Management; Site project Financial Oversight

2008-2009         Dowd Gallery, SUNY College at Cortland, Cortland, NY, Curator and Gallery Director

Responsibilities included: Curation and Programming; Community and Public Relations; Strategic Planning; Design and Distribution; Marketing; Fundraising; Financial Oversight; Staff Hiring and Oversight

2000–2005         FLUX Art Space, NY, Co-Founder and Artistic Director

Responsibilities included: Programming; Community & Public Relations; Marketing; Fundraising; Board Interaction & Development; Financial Oversight; Human Resource management.

Curated Exhibitions:

2008:

Fax (Co-Organized by The Drawing Center and Independent Curators International)

Evan Summer:  Prints, Drawings, Collages

Unexpected Weight Loss: Richard Jochum

Collexhibition (Joanna Spitzer and Greg Halpern)

Erasing Borders (In association with the Indo-American Arts Council)

Student Select 2008

SUNY Cortland Faculty Biennial 2008

2007:

From Albers to Picasso: A Selection of 20^th Century Prints

An Atlas of Radical Cartography (Organized by Lize Mogel and Alexis Bhagat)

Paper Politics (Organized by Josh MacPhee)

Purple States

 Student Select 2007

2006:

Mute  (12 video artists)

Alterity: Art from the Peripheries

Conferences:

2009                 PDCON09 – Pure Data Conference

Museum of Image and Sound, Sao Paulo, Brazil; Panel participant: Art Radio in the Community

2007                 Conversations Across Cultures, Community Arts Education, Teachers College, Columbia University

Panel participant: Art Education in Practice, “If There Is An ‘Outsider Art’ What Is The Inside And What Exactly Is The Difference?”

2007                 Conversations Across Cultures, Community Arts Education, Teachers College, Columbia University

Transformative Possibilities, “What Happens When The Artist Runs The Show? Field Work Presentation From ThINC”

2007                 Phenomenology, Harvard University

Panel: ‘Reality As A Substance In Art And Education’

2007                 “Popular Culture in the Classroom: Teach, Think, Play” Teachers college, Columbia University

Panel organizer: ‘ExoEdu: How Alternate forms of Education Support Authorized forms’

2006                 “Ways Of Knowing” Teachers College, Columbia University

Panel participant (with Dr. John Baldacchino & Matt Carlin): ‘Beyond The Myth of Practice’; Paper delivered “Autonomic Illusion.”

Publications:

2011:               

Mount, Andrew Staring

2010:               

Mount, Andrew & Palma, Miguel Complicity

Mount, Andrew Tweasing

Salt Hill Journal Issue 24 ‘Forewordimage’

2009:

Mount, Andrew N_O

Mount, Andrew Shaping Back Again

Mount, Andrew Visual Etymology

2008:               

Mount, Andrew Bricolage         

Mount, Andrew Avatar

Professional Affiliations & Awards:

2010-2011 Residency awarded with Residency Unlimited

2008-2010 Public Art Commission, Syracuse, NY, Founding Co-Chair

2009 Danish Arts Agency: Curatorial Fellowship

2006 Arts & Culture Leadership Alliance, CNY (ACLA)

2004 National Arts Education Association

2004 College Art Association

2001 The Association of Arts Administration Educators (AAAE)

2001 Harlem Arts Alliance

Exhibitions:

2011

Epigraphs and Graphemes, Solo Show, Abrons Art Center, NYC

Lumen Video Festival, NYC

2010

Control Panel Special Project, PooL Art Fair, NYC

Decadent Eclipse: Hotel Room Group show, PooL Art Fair, NYC

2009

Decadent Eclipse Group show, KKProjects|Art is Life Foundation, New Orleans

-Control Panel SESC Sao Paulo (5 Locations) & Museum of Image and Sound, Sao Paulo, Brazil

2007

undrawing two-person show, Rack Gallery, London, UK

2005

Macy55 Group show, Curated by Maurizio Pellegrin, Macy gallery NY

2004

Socllipse, Solo show- Gallery MLADOST – 2, Sofia, Bulgaria

2003

Superob, Group show, MOT, London UK

Andrew Mount Solo show, Dickey’s Art Room, NY

2002

Retrofit, Group show, Lombard-Fried Fine Arts, NY

Salad Days, Group show, Bill Maynes Gallery, NY

2001

Bi Virtue, Group show, Star67, W’Burg NY

thisthat&theother, Solo show, PS1 Contemporary Art Center, NY

2000

UHUH UHYEAH, Group show, Hunter College Galleries, NY

thatthatthis, Two person show, 450w41st,NY

West And, Group show, Alternative Space, west 26^th street NY

thisthat, Solo show, 450w41st,NY

1999

COMA, (in collaboration with Omer Fast) 450w41st,NY

Present, Two Person show, Rack Gallery, London, UK

1997

Con-sum, Group show, Rack Gallery, London, UK

1998

Sacrafizzio Dell Intelletto; Group show, 289 Hudson St. NY

thatthat(this), Solo show, 450w41st,NY

1997

Off The Hook, Group show, Rack Gallery, London, UK

1996

Eastenders – new painting Group Show , RcW Gallery, London, UK

Andrew Mount, Solo Show-Showroom Gallery, London, UK

1995

Reading Lessons, Group show, Kassel, Germany;

1994

Jam Factory, Group show, Alternative Space, Tower Bridge, London, UK.

Skills

Productivity: Microsoft Office, Endnote, Internet.

Graphics: Illustrator, Photoshop, InDesign, print production processes.

Web: Dreamweaver, HTML5, Flash.

Video/Audio: Final Cut Pro, Compressor, Peak, Logic Pro, Pro Tools.

An image bank in motion: on the image as a process

If the atlas appears as an incessant work of recomposing of the World,

it is first of all because the world itself does not cease to

undergo decomposition upon decomposition (Georges Didi-Huberman[1])

The interest about the archival practice is not new: artists, historians, scientists and many others have used it as a working tool with distinctive intentions. In a time where proliferation of information is unprecedented, archives have nowadays captured increasing authority and fascination. Organized according to particular methods of arrangement, individuals head there to fabricate their own view of the present.

In the last years, Andrew Mount has assembled a colossal image bank that is partially derived from the legacy of art history, from media sources or culled directly by him from different sources. Traditionally art history has been perceived as a sort of an archive, arrayed in compartments to be apprehended by a linear narrative. Nevertheless, Mount´s approach towards that legacy is based on handling freely its anachronisms and discontinuities, questioning imposed narratives, proposing imaginative and critical readings of often politicized imagery.

Mount´s image bank is a fluid and open system, where heterogeneous images are diagrammatically brought together, through the employment of several strategies. In some cases, Mount constructs the images he uses as a starting point, both excavating them and adding new contents, altering or accentuating certain features and revealing imaginative realms. In others, he overlaps images to highlight existing contradictions or absurdities.

For the first time in the artist´s career, after several years of selecting and intervening upon found imagery, in the exhibition Epigraphs and Graphemes Mount displays part of this complex material and extends it into several media: photography, sculpture and installation. Aby Warburg and his seminal Atlas Mnemosyne (1924-1929) is an inevitable reference that comes to mind particularly when considering the presentation of Mount´s digital collages (The arena of Lost faults 2010 and Vehicles 2011). This association is due to the implicit idea of montage, of considering the image as a process and not a mere object. Besides that, the building of new relationships between images from an archive, created by their proximity, recalls an unconscious memory, or what Warburg designated «a contamination of motifs».

Throughout this exhibition at Abrons Art Center one can observe the recurrent migration of structures, forms and processes between the works displayed. Consequently, the same motif or image can trespass into different series of works, eventually taking a reshaped appearance, as happens, for instance, in the moonlight drawings of the long photograph Shaping back again 2009 and in the installation VE: Confirmation 2011.

Profoundly concerned with language and communication, the artist has created a consistent iconography: in his body of work elements like windows, screens, car tires or mirrors are repeatedly found. It should be noted that the mirror appears also as an idea in the sense of the echoes and resonances that link the works and that the rearview mirror holds a sentence crucial to his work and that warns about the lag between what we see and our knowledge about it: «objects in mirror are closer than they appear».

Also, several kinds of vehicles, such as car, trains and planes, convey a sensation of movement. This interest of his resides in the fact that it is associated with fluctuation and changeability (experienced for example while drawing in the slate stone sculpture Consciconscconsconscconou, 2008- 2011). Vehicle in his artistic lexicon comprises a double meaning: besides the physical transportation it also inscribes the signification of mental transportation allowed or constrained by imagery that we as spectators daily consume.

Finally, the title of the show merits our attention. We know that Grapheme is the unit of written language, an elementary constituent for discourse and that Epigraph refers to an inscription of a word or sentence to celebrate or perpetuate the memory of an event or person. These terms relate to the works on view in diverse ways, either for its production technique or for the fact that several of them explore the connection between art and language. But it should also be emphasized that the term “graph” is contained in both words and that it stands for a diagram that represents a system of connections or of interrelations among two or more things, a written symbol for an idea or linguistic expression. Hence the title conceals core strategies to Mounts work and which pervade the show: repetition, deviation and interlacing.

Thus what Mount proposes is to reconfigure the act of seeing – and in this regard it should be stressed that the writings of Jacques Rancière are a pivotal influence on Mount´s works. By drawing attention to the autonomy of the image, the artist intends to reinforce the critical act of perceiving imagery, destined to be received by an active and participant viewer. By exposing or staging occasions to reflect about power structures, Mount aims for a multilayered knowledge about a fragmented, multiple and contradictory world.

Luísa Especial

This text was written for Andrew Mount´s exhibition Epigraphs and Graphemes, on view from September 10^th until October 1^st, 2011 at Abrons Art Center, New York, curated by Luísa Especial and organized by Residency Unlimited.

Phylogeny (via Mandala)

2011 (selected images)

The images below begin an exploration of the notion of the phylogenic memory. A Jungian concept that has no factual basis, it is nevertheless a commonly understood idea – that simple (often geometric) forms can trigger aspects of a collective unconscious. My work in this area aims to conflate the resonances caught up within the car tire and wheel with the phenomenological, object oriented ideas of a spiritual, connective unconscious provoked by rhythmic patterns.

Three Eyes

]]> http://www.andrewmount.com/art/2011/09/three-eyes/feed/ 0 http://www.andrewmount.com/art/2011/09/epigraphs-and-graphemes/ http://www.andrewmount.com/art/2011/09/epigraphs-and-graphemes/#comments Thu, 08 Sep 2011 04:25:42 +0000 andrewmount http://www.andrewmount.com/art/?p=1192 Epigraphs and Graphemes: a solo show at Abrons Art Center, New York.

——————————–

[press release]

Epigraphs and Graphemes

Exhibition Dates: September 10^th – October 1^st, 2011

Opening Reception: September 16^th, 6pm – 8pm

Abrons Art Center

466 Grand Street (at Pitt Street) New York, NY 10002

For hours of operation and directions click here.

Curator’s Essay here

FOR IMMEDIATE RELEASE September 6th, 2011, New York: Abrons Arts Center is pleased to present Epigraphs and Graphemes, a solo exhibition by Andrew Mount, curated by Luísa Especial and organized by Residency Unlimited. Epigraphs and Graphemes will be on view at Arbons Arts Center from September 10^th through October 1^st, 2011. The opening reception will take place on September 16^th, 2011, from 6pm – 8pm. Andrew Mount (b. 1969, Liverpool, U.K.) lives and works in New York and is currently an artist in residence with Residency Unlimited.

Epigraphs and Graphemes is representative of Mount’s ongoing interest and exploration of the idea of the image bank/artist’s archive as a unique tool for the creation of art, the increasingly amplified politicization of the image in contemporary art and life, the relationship between art and language and the etymology and economy of art.

In this most recent body of work, Mount deconstructs the holistic notions of art by presenting a fractured experience of the spectacle inherent in all arenas of our visual presence. From his choice of production technique to his diverse medium outputs, Mount questions the implicit connection between seeing and knowing.

            The Arena of Lost Faults, (8 digital collages) and Vehicles, (6 digital collage) series introduce the use of the image bank as Mount’s latest production technique. This artist’s image bank, amassing close to 40,000 images accumulated over the last several years and today comprising a colossal digital archive, include art history, painting, news media, and popular culture references and sources. All images are representative of the artist’s research, creative interests and agendas, and more often than not, become referential to previously made work. Best described as Mount’s unique visual lexicon, a visual collection of his formal and informal ideas, the images in this digital repository are the raw material used by the artist. Mount employs manipulation techniques such as interlacing, juxtaposition and repetition creating new images, clever and inimitable digital collages, infused with highly politicized content that produce their own reality. The Arena of Lost Faults and Vehicles series are both perfect examples of how Mount strides to advance and necessitate the politicization of the image in order to advocate a new reading and visual competence on behalf of the viewer.

Shaping Back Again is a stunning, black and white photograph of moonlight drawings, measuring 24.5’ x 2’ long, and part of Mount’s ongoing Visual Etymology project.  In 2004, Andrew Mount began to obsessively make moonlight drawings, using a low-resolution camera as his drawing tool. To date, he has made more than 8,000 of these drawings. Visual Etymology is an attempt to construct an etymology of drawing, through making drawings rather than describing them. This etymology, or art’s literacy, can paradoxically best be understood through anamorphosis. This would seem to suggest that to understand art, one must use a fulcrum, change its nature, and eschew art’s particularity. Shaping Back Again, installed at Abrons Arts Center, fascinates the viewer with a selection of these drawings — beautiful and effortless, escaping categorization, shrugging off the responsibility of symbols and reneging the properties of the character. There is no implied narrative and though perhaps on an unconscious level familiar to the viewer, the moonlight drawings inevitably invoke highly personal interpretations.

Consciconscconsconscconou is a participatory sculpture: a slate stone engraved employing a conflating system of writing, based on the word ”conscious.“  This sculpture will be activated and made participatory by prompting viewers to use provided by the artist’s materials (white paper and graphite) to produce their own drawings (frottage). This form of engagement activates several artists’ tropes, including the act of copying, repetition and drawing, ultimately positioning participants to meditate on the meaning of the notion of consciousness.

VE: Confirmation is a participatory installation consisting of 12 stamps of selected moonlight drawings and ink, a wall made of homasote, and a compressed paper construction material. Viewers are invited to engage in the act of stamping and leave their mark on the wall. The thread in this work is transparent – as authorship is relinquished, an etymology of art is created.

_______________________

About the Artist:

http://www.andrewmount.com/art/

About Abrons Arts Center:

http://support.henrystreet.org/site/PageServer?pagename=AACHOME_homepage

About Residency Unlimited:

http://www.residencyunlimited.org

The Political Advantage of Abstraction

Vehicles (Haggia Sophia)

Screens (Cropped Mirror)

The Arena of Lost Faults 2010

collaboration with Mark Edward Grimm.

Control Panel is a participatory sound art work. It plays two channels through mono, using puredata to randomly play any of 100 audio samples through user demand – the piece will remain static until another user sends a request to the server, thereby either changing the audio sample or manipulating it via instructions sent to their cell phone or instant message client. as the work resides on a server, it can be heard and manipulated from literally anywhere that a person has internet connection and the ability to use free messaging software.
This facet of the work will be augmented in the near future to add 2 more points of connection that aim to increase and ease participation: the interface of the website and a custom made, freely available mobile app. (Initially, text messaging was the mode of communication but this technology is fraught with problems of translation, from country to country and between service providers).

Control Panel was shown in 2009 at Museum of Image and Sound, Sao Paulo, Brasil and in 5 SESC locations across Sao Paulo, Brasil, and in 2010 at the PooL Art Fair, NYC.

In the spirit of the work, I would suggest that you play all the videos at the same time…

Inheritance (2007-2010)

This selection of images are video stills. They are from a highly compressed video made on a phone, and as such they are subject to the limitations that that form of recording brings. Much as memory does, this degradation begets innovation. Invented detail, perspective, and color all shift and change partly due to the hardware limitations (the recording device) and partly to the method of recording – while in movement on a train. capturing images while moving is a consistent theme in my work, and appears in numerous forms. The qualities of these works immediately connects them to our visual western history of painting, and thereby our understanding of the aesthetic structure of imagery and in turn imagination. While the degradation inherent in the images is within an objective parent-child relationship to hardware, the inheritance implicit in the images is the visual schema we have chosen to live with.

Deadpan (installation documentary)

Through MirrorGraphemes

• Staring

• Staring collects together images that are able to instigate the phenomena of staring. When staring, we seem to be accessing a level of concentration upon imagery that we otherwise do not have the time or will to do. Images rarely get the attention they deserve, beyond the hackneyed ideas of media saturation, and image over-population. The lack of attentiveness to images is not, itself, new. Neurath’s isotypes – in particular their popularity- speak to the desire for simplicity in images, and this has continued in line with the  development of media and technology. Who is to say what occurs during this time, when we stare? perhaps a dream; perhaps a memory-processing event; perhaps it is here that we access phylogenic memory; whatever it is, staring is a resoundingly human characteristic, a private moment, a luxury. We should propogate it. This book could be a beginning.

• Staring is available as print on demand – please click below. I do not make any money from the books, the price for the book is the vendor’s fee:

• staring

By Andrew Mount

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VE-Graphemes

IFBUTMAYBE

Ugmphhh

The Park

new_mirrors

the vertical is a problem. it always has been. its too erotic. its physically exhaustive. because of material limits, its definite. its divisive. its presence signals everything and nothing and this book offers just that kind of proposition: a contradiction that can only be overcome by your attempt to understand it.

you can print it and do whatever you want with it. you can use the white space, draw, paint, write, rip it apart and put it back together. its a journey, as is your process of adding to it.

new_mirrors is available as print on demand – please click below. I do not make any money from the books, the price for the book is the vendor’s fee:

new_mirrors

By andrew mount

Fields (3)

Complicity (with Miguel Palma)

This book was made in collaboration with Miguel Palma, and is a unique work. it was made through precise conditions that are laid out in the preface to the book, via an email exchange between Miguel and myself. We decided not to communicate about the work via words, but instead to send eachother images in order to proceed, and this is the result. I am grateful to Miguel for this opportunity.

More books will come from this collaboration. see Inc. livros e edições de autor

Tweasing

‘Tweasing‘ is a meditation on the process of looking, in this case at painting, and the historical backdrop of that process: content, context, affect.
this process is imbued with the logic aesthetic control, and what Ranciere calls “the police” -the system of the distribution of the sensible. in this context the sensorial overtones of devotional imagery are appreciated in their context and via contemporary extrapolations, from transcription to connotation.
the notion of control through aesthetics, and an attempt at a resistance is the central focus of the book. where bodily forms are made visible through the composition of folds in fabric, an ideology is codified within an existing (religious, authorized) narrative. resistance here eroticizes the spiritual, and in doing so forms a model followed by successive generations of artists, ultimately producing a revelation in art: abjection, fueled by philosophers such as Bataille.

Because I use a print on demand service to print my books, Tweasing is available – click below. I do not make any money from the books, the price for the book is the vendor’s fee:

tweasing

By andrew mount

Book Preview

Bushkets 2005-2009

hussush 2007

These are a selection of a collection of images made through collecting political imagery and working with it as raw material. In this way the work consciously inherits the aesthetic of political media and uses its settings, composition and inferences as tools or devices. At the same time these devices become exposed for what they are. There is no attempt there to upgrade the quality of the imagery as it is important that the images reveal their sources in every way. In this case, of course this is digital imagery, which is often transient, temporary, and as such are totemic of their digital identity. Additionally, the temporal basis of these images reveal at once the massive accumulation of such media, and the form of today’s political propagandic methodology, and announces the reversal that politicized imagery has enforced upon the historical methods of propaganda imagery. Rather than simply re-present media imagery in a documentary form (which would illustrate a theory), this work uses interlacing as a visual schema that is intentionally distorting, even further than the low-grade pixelation in the images. Within the interlacing, see two images at once, and through this the tear in the fabric appears, the third image suggestively articulating the consistency in politicized visual public address.

These images have been printed and are included within my book ‘Shaping Back again’

Fields (1)

Screens (Black Mirror)

Like many of the images I end up interested in, these are taken quickly, with a cell-phone camera, and they reveal this in the quality within the images, which are not more invested in the way the limitations of the camera make up the image, which is actually the norm with photography. No camera can repeat the act of seeing, because of limitations in the lens, the focal range, the pixelation, the ability to handle light. We are content to get images that are clear and these become our memories. These images, and much of my photography works against this notion. This set of images, like all my images are contributory to my image bank and they will be used in a variety of ways – recycled through collage with other images, printed in books or alone as flat images.

Shaping Back Again

Shaping Back Again is the alternative description of anamorphosis. through this, one has to position oneself precisely to be able to gain clarity on any given circumstance, situation or tableau presented to you.

the images contained herein reflect that metaphorically, and present a distillation of political media images that have been highly manipulated through montage and interlacing.
this raises the aesthetic questions embedded within political representation, and in some cases pares them down for a deeper examination, ultimately revealing that sophistication has little to do with technique or virtuosity, it is only about manipulation.

Shaping Back Again is available as print on demand – please click below. I do not make any money from the books, the price for the book is the vendor’s fee:

SHAPING BACK A…

By Andrew Mount

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Shaping Back Again is also available from Inc. Livros e Edições de Autor – please click  here

Vehicles

N_O

N_O was made as the partner to a video installation i made in New Orleans called Deadpan. rather than make a flip book, i took the idea of a flip book and made complex images that respond to eachother, and allow the use of the book to change due to the speed with which the pages are viewed. again here i have used history painting in collusion with my own photography to create commentaries on painting, photography and composition.

N_O is available as print on demand – please click below. I do not make any money from the books, the price for the book is the vendor’s fee:

N_O

By Andrew Mount

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Drawguing (Actual Screen)

Deadpan

Deadpan is an amalgam. Deadpan begins with a MoMA podcast. This is the raw material. The most striking moment in the podcast is when an art historian’s strident authorial tone is demolished by not being quite able to describe what deadpan really means. As I drive, I use my iPod to find and reply this moment of clarity, creating a video that is at once documentary and video art. This pushes attention towards the audio track, where all the action is. The cinematic tone of the images present a slowly moving, almost uninterrupted blue sky, in total contrast to the frenetic audio track, slipping through time and placement as it is manipulated. the moving car makes all the difference here. it prevents the possibility that one might learn how to do this, by noting the time marker or any other method, because it has to be done in tandem with driving. All of this activity is recorded by a low-end camera phone.

The link below is to the original video, which is in scale here. It has been used in exhibition setting, please see the documentary images and video here.

]]> http://www.andrewmount.com/art/2009/06/deadpan/feed/ 0 http://www.andrewmount.com/art/2009/06/newcamp08/ http://www.andrewmount.com/art/2009/06/newcamp08/#comments Thu, 11 Jun 2009 03:35:25 +0000 andrewmount http://www.andrewmount.com/art/?p=1664  

polis08

av at ar

av at ar is available as print on demand – please click below. I do not make any money from the books, the price for the book is the vendor’s fee:

av at ar

By

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Visual Etymology (8)

[note: the following are a selection of images from an iteration of the project that produced +600 images]

Inawg (1)

Scopaesthesic Intertials

visualetymology

visualetymology is a long term project that I began in 2006. The work consists of digital photography, and exists as prints and books. I started this work in reaction to the phrase ‘art is a language’. After coming to the conclusion that this phrase is not only wrong but does art a disservice, I began to make an etymology of art, as if to prove the thesis incorrect. Art cannot be a language because language would not exist were it not for the rules and standards that it is ordered by. Art habitually reneges such bracketing in favor of a total reinvention in terms of form, style, content and media. There are no aspects of art that can be said to be reflective of a language, unless one is attempting to explain art (not always a good idea) through the use of narrative art. This work is made in the knowledge that the work cannot achieve its aim, and that to all intents and purposes, the notion of an etymologically driven art, one that distills gesture into audible sound, metaphorizes the transcription necessary to believe in the statement that begot the project. Its very name is a contradiction in terms.

visualetymology is available as print on demand – please click below. I do not make any money from the books, the price for the book is the vendor’s fee:

visualetymology

By andrew mount

Book Preview

bricolage

bricolage is available as print on demand – please click below. I do not make any money from the books, the price for the book is the vendor’s fee:

bri col age

By andrew mount

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visualetymology (6)

Drawguing (vehicles)

Transcribing Interference

This video documents an action wherein participants are asked to write something related to their day prior to arriving at the site. As they did this, their responses were responded to by two people who crowded around them, talking and dropping suggestions that would accumulate into a written manifestation as the work progressed. The work concentrates upon this kind of dysfunction in thought and action, while it attempts to press an importance in the written word, its singularity within the hand of the participant and the supposed individuality in lived experience, interfered with by the presence of the directions given out and the provocations of those following the camera, audible but never visible, somewhat analogous to the thought processes of the participants.

Subway Book 3

Subway Book 4

Subway Book 2

Subway Book 1

Searching out Eclipse

This That & The Other

Scroll down for text.

This That & The Other

Other This That & The

The Other This That &

& The Other This That

That & The Other This

There There’s a view in a mirror of an object on the wall which is made up of circles: strips of translucent blue plexi-glass bend to form wall supports, perpendicular to the wall, they are circular braces, they buffer a plexi rectangle hanging from the ceiling but butted up against it, it has two circles cut out of its face, as big as they could possibly be in this scale, in order that the rectangle retains its dimension but loses its character, its slight orange colouring seeming to blush from the incongruity of its position in this confederacy of circles. The rectangle holds a 15” circular image, a layered composition: a satellite  image of the earth, downloaded, expanded, bitmapped, but still retina friendly; the focus of which is the Atlantic, the Americas, Europe, the image overlayed is a scan of a cd-r, a very distinctive image, announcing itself as the agent of a new generation of information transfer, for its colour describes this feature as a consumer-level product, the two images are eclipsing each-other as the focus swings between the micro and the macro view; of information dissemination, of communication; there is a 15” woofer speaker to the left of the image, from the speaker comes a looping  audio, the title of the piece: This That & The Other. Its not a simple repetition, the last word of each line is repeated in each successive line, producing a system which contorts through the simplest of devices, to repeat the phrase would be to alter its potency into a mantra, but this slight addition forces away a spiritual encounter into a point of collision with itself rather than meeting. The question of relevance in this statement provokes a reciprocating process of questioning wherein the viewer is the challenged, the viewer is the tested subject of the experience of the work, the viewer becomes engaged or disenfranchised by this revelation. The statement <This That & The Other>is referred to the relaxed manner of its abbreviating usage, its very generic quality, and its position within language as a fulcrum, an enabler, a position through a conversation one will get to after building some foundation and structure , in order that one need not recourse to repetition. This That & The Other is a self aware title, the use of ‘the other’ at the end of the phrase seems to sum up, in the most bland or faceless manner possible the contents of an artwork: materials, media, content.

Deeper in the mirror the aged tin ceiling, from here at an awkward angle, looks as if supported by one half of a 13’ tall pink foam parenthesis, panning this situation, you see the other side of the parenthesis; together they frame the window (a bracketed opening, the first luxury of building/architecture, the constant attraction, an essential protection, the conciliator for human dwelling). Painted on the widow is a large chroma-key blue circle, painted only on the panes not on the frame, hiding an architectural detail- an outdoor light, creating another artificial eclipse, mirroring the chroma-key blue circle painted on the glass above the door, also hiding a light fitting, eclipsing the center, linking the two forms, forcing a cohesion into their own system, replicating the idea of a Moon and a Sun, <here in the middle, we are all fluorescent daylight bulbs>, in the moment’s like striking a tuning fork, identifying the system of reading, waiting like a train to pick up the viewer and head deeper into the vernacular, each element here has its partner, from the sculptures on the walls to the audio constantly re-inventing itself; the ink stamps spell out the title of the piece, broken down to separate objects, used by the viewers, decorating the space, constant momentum, evoking a moment of liberation for the viewer, now collaborator, the viewers marks are tied to the artist, at the end of his fingers, once again the audio resurfaced in its system of collision & renewal, the floor based audio creating noise which is ever growing, changing morphing into and out of the street noises and incidental happenings, an automated foley art, encased in clear plastic storage bins, with the same 15” woofer speaker lying in the lid of the bin, the sound is of autos, in one the deep throaty idle of a distinctively American sports car, and in the other, the same car racing through the gears, as quickly up as down, both situations are expositions of pure waste, but enmeshed in style. The waste in this situation is iconoclastic and evocative, its brimming with the etiquette of its presentation; this is not a car, it’s a sample, but twice removed; a video game’s rendition of these cars, it is a symbol in this form, a distinctive sound, one which viewers through their experience can recognize either the videogame sampled, or the root of the sample- the figure in the mind of the viewer when presented with this sound is either a classic American sports car, or a bitmap image.  These speakers, as such, are completely self- contained objects: they need power brought to them; they have double female power-sockets, the action of the electricity is pushed to become material form in the reception of the work, to operate this work is an illegal act, creating a king of will, the need to add another component to complete, like fuel, like the viewer. Once on, the spoken audio stutters and harmonizes, syncopates and falls apart, mixed with the car’s bluntness, this replicates the public’s noise making through the use of the ink stamps over all the walls. These processes as they grow represent the viewers’ manipulation and presence yet through their  absence, in direct reflection of the relationship between the artist and the artwork, the usual position of the viewer is viscerally manifest within the piece.

Andrew Mount © 2001

UHUH UHYEAH

another low-q video, but worth posting, as it informs well about the dynamics of the installation.

ThatThat

this is a super-low quality video, that being said, it does manage to inform about the work well. more text coming soon.

ThatThis

Walk With Narrator

Gallery Installation, Showroom Gallery, London 1996