mew nedia

 Three minutes long. Three people on camera (plus a cat). Three layers removed. I originally wanted this project to focus on a "sixth sense" that we use to explore the digital landscape, but as it progressed I found myself more interested in the way we think about and perceive our identities online. I'm interested in this because I'm not on most social media platforms, and the ones I am on I only joined recently. Most of my friends have been creating and performing their online identities since middle or early high school. I shudder to think of 14-year-old me having an Instagram account. I didn't know who I was or wanted to be. How would I have ever been able to decide what I wanted unknown amounts of strangers to know about me when I knew so little of myself? These days I find the concept of a character or persona that you play in online spaces to be a very interesting idea. I've taken it somewhat literally, and since I've never posted a picture of my fac...

When I started looking at Louise Lawler's work, my first thought was that it was fancy plagiarism. What's special about taking photographs of someone else's work? Why call that art? However, the more I read about Lawler's work, the more I realized I had taken the bait, as Leah Pires said for Art News. It's the same trap I imagine critics viewing Marcel Duchamp's urinal fell into. Why call it art, you ask? To find out what happens, that's why. Enough said. The artist. I found I related more to Lawler than I thought I would. I, too, am interested in how to reach viewers outside of the gallery context, and I too want to know what happens if you remove art from the white cube. It turns out that photographing a Warhol is way more subversive than I expected. I didn't get a chance to talk about this in my presentation, but I thought that her ideas of editioning and re-presenting her works were both very interesting. In my own work as a printmaker, I reflect oft...