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‘Who was Wentworth?’ A walk from Katoomba to Woodford, (23 June 2017)
“I named this walk ‘Who was Wentworth?’ because of a conversation I had with my walking companion at the bust of William Charles Wentworth that highlighted the complexity of history, post-colonialism and how personal perspective effects our understanding of the past.” (credit)
“C.L.U.E. (color location ultimate experience) is a collaborative video, installation and performance work by artists A.L. Steiner + robbinschilds, with AJ Blandford and Seattle-based band Kinski. The performance and installation-based works have been presented in exhibition and performance venues internationally. The video works range from a single-channel piece (C.L.U.E., Part I), to multichannel pieces, up to 13-channels. ” (credit)
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SALT from Michael Dax Iacovone on Vimeo.
“Artist Statement:
I like to think of drawing as a broad term, not limited to pencil on paper. Drawing is a record and a representation. It can be a record of what something looks like, or it can represent a location, or an action. It can be a record of an event, or an idea, but it isn’t mistaken for any of these things, it is not a substitute. I draw by moving through spaces based on systems. The artifacts of these journeys are records of those drawings.
I create systems to experience spaces through movement and labor. I make art by creating maps, drawings, photos, and videos that utilize the virtual understandings of space to create systems and formulas to actually experience those spaces. Ideally, the presentation of the formulas and systems along with the visual manifestation of the work will influence the viewers into considering and possibly experiencing their own spaces differently…. but that’s a lot to ask. Maybe someone just wants to look at it, and I’m good with that.” (credit)
Olle Helin [Malmö, Sweden] “Colour charts” (2020-2022) found pigments on aquarelle paper
“The Colour charts is an ongoing series of paintings, and a product of a fairly simple work method: I go out on the streets with a watercolor pad, a paint brush and some water. The paper is small enough to be held with one hand, in sizes ranging from A6 to A4. I collect pigments that I find on these “color walks” – gravel on roads, dirt from window panes, dust and bird droppings, etc. – with the brush, and apply them in order on the sheet of paper. The dirt leads me to overlooked places in the city where dirt collects, to gaps and on routes I could not have foreseen. The walks, like a derive, become an experimental way to explore the city. In the work’s title, the word “chart” is used in the double meaning of the word: both as a systematic arrangement of color, and in the geographical sense as a schematic representation of an area or a route.”
Text from wall didactic in Walk With Us exhibition at Rochester Art Center.
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Judith Butler and Sunaura Taylor went for a walk and engaged in a terrific conversation about disability as not merely some physical status but largely a social status, and that is also true for so called “able-bodied” persons.
“VALIE EXPORT/Peter Weibel, Aus der Mappe der Hundigkeit (From the Portfolio of Doggedness), (1968)
Documentation of the action 5 black-and-white photographs, vintage prints, 40.3 x 50.3 cm / 50 x 40.3 cm each, framed between 2 glass plates, flush 40.3 x 50.3 cm / 50 x 40.3 cm each, fixed with black textile adhesive tape Photographer: Josef Tandl
Five black and white photographs document the action From the Portfolio of Doggedness, which VALIE EXPORT and Peter Weibel carried out in Vienna in February 1968. EXPORT took her fellow artist for a walk—he crawled behind her on all fours on a leash—along the Kärntner Strasse in Vienna, one of the central streets and main shopping areas. This “sociological and behavioral case study” (EXPORT) belongs to the actionistic tradition. “Here the convention of humanizing animals in cartoons is turned around and transferred into reality: Man is animalized—the critique of society as a state of nature” (Weibel). Turning around a piece of normal social behavior makes transparent a particular symbolic order—that of gender specifics—and subjects it to criticism. Here, an active woman leads a passive man on a leash. Crawling, a form of animal behavior, is not, however, a reference to liberation from moral and political discipline or a “better” system. Rather, it points out the necessity of restructuring the social order that has been handed down to us. Photography has a documentary function here, it acts as an “ethno-graphical” study and shows particular communication processes in the observable reactions of the onlookers. The structures of the gazes disclose social behavior and contrast with the action. (Claudia Slanar)” (credit)
“For twenty-two years I have made the hour long drive from my house in Cerrillos to my office at the University of New Mexico. For this piece, I decided to walk to work. I strapped on a backpack, headed out my door and walked as straight a line as possible (given the variations in topography, land ownership, etc.) to my office at UNM. Along the roughly 50 mile trek across ranch land, the Sandia Mountains and the northeast quadrant of Albuquerque I recorded my perceptions from the perspective of a lone hiker walking across the land.
This work is part of a series of “Physiocartographies.” Started in 2003 in the field with the Land Arts of the American West mobile studio, the physiocartographies series combines the abstraction of cartographic maps with the physical act of walking the surface of the planet to create portraits of place. In the various works from this series I follow prescribed paths across the landscape using a gps unit to navigate and record points, a camera to shoot images and a digital recorder to capture sounds. The final works appear as reconstructed maps, videos and installations.” (credit)
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desire path, game trail, social trail, fishermen trail, herd path, cow path, elephan path, goat track, pig trail, use trail, bootleg trail
