No Pomo
Since 2010
Works in Boston United States of America

BIO
In the focus of my praxis I start with the audience, the viewers reception is the most important factor in determining the larger cultural meaning of your work. It's important to me that I reach an audience with an intent that will be inferred by the viewer. Post-war art was the birth of modern abstraction, which was a fear of depiction and a fear of telling the viewer what to think or do. It was a nihilism birthed out of the sombre aftermath of fascism and it's use of language and the image. Slowly the art-world reconciled and slowly began to recuperate the use of narrative and realistic images but it was never the same. Fractured and dialectic works continue to be the most useful in making work that both states something without enforcing a violent intention to the viewer. This importance of the nihilistic conversation is the birth point of my aesthetics. George Bataille's theory of "Icarian" telos, a realization that the more you learn and the more you can do, the more you burn yourself with this knowledge and render yourself useless unto the public who can not seize this information, plays an important role in how I navigate the world of cultural production.

More and more I try to compress ballistic information into digestible radical pills. Compressing information creates a loss of nuance though I work towards developing my own codecs that allow for free roaming radicality. I reach for a Nick Landian acceleration collaborates with the exponentiation of communication to an anti-bodily stasis forcing a utopian conclusion, remapping the hyper-information dromosphere that dominates cultural influence. (Cyber-punk myth-political jabber) The utopian vision is always a tongue-in-cheek metaphor for religious subversion that functions to communicate information to the mostly christian minded western hemisphere. (All disaster films, dystopias, etc. are serviettes to the notion of rapture.) It is important to not be complicit to this absolving system to the viewer, but to take what's familiar and present a non-rapturous projection of our world. The average dark narrative or image is not dark at all, if any thing it is designed to make the viewer exempt from the issues of our world. I'd rather make a step to making the media consumer feeling complicit to a destructive system and potential get closer to a stasis of actualization.
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DISCUSSION

What am I doing wrong


I would suggest having some where else besides a rhizome profile to host your work.

DISCUSSION

Trying to remember artist name..


I feel the idea you had that would be "too literal" would be far better, because it actually would have an illustrated critique. You would know directly what it's targeting. Logorama instead comes out sloppy, with an almost random selection of logos with their only relation being how they look and not what they stand for. Quickly it becomes a gimmicky tool that is only celebrating the visualization of logo's rather than contemplating or presenting these logos in any meaningful way.

DISCUSSION

Trying to remember artist name..


oh I just figured it out, it was Hank Willis Thomas.
image

DISCUSSION

Trying to remember artist name..


But there was a story, a full on holly wood thriller type scenario. With an added generic animation sense of humor that really takes away from anything besides it being a quirky fun time for the viewer. Rather than any sort of contemplation or worry about logos, commercialism or consumerism. Again I could be all wrong but that's how it comes off to me.

DISCUSSION

Trying to remember artist name..


So some one recently sent me the Oscar winning Logorama video and I felt it was a little bit heavy handed and lacked any real commentary. There's an artist in particular I'm thinking of who did a series of pieces with logos and the one I can remember most clearly was the NIKE Michael Jordan AIR logo hanging from a TIMBERLAND boots logo which is a tree. If any one can remember who made this piece and could possibly link me an example of it would be very helpful. I would really like to show my friend why this "logorama" video fails to entertain me and why to an extant I actually find it very bothersome and I might even say tacky. I'm not sure if that's the best word for it or not.

Also, this is my first post here and I'm sorry if it is inappropriate this is one of the only art related forums I could think of that I could ask this. My apologies if this type of post is frowned upon or something like that. Feel free to simply discuss the Logorama peice as well of course, and if you disagree with me or do agree with me let me know. Or if you want to mention other artists who uses logos in a more useful way than this animation.