brynerasmussen

[brynerasmussen]

Honored to have edited some texts for this brilliant book:

Teddy Sandoval and the Butch Gardens School of Art

Edited by C. Ondine Chavoya and David Evans Frantz

8.25 x 11 inches, 256 pages, softcover ISBN 978-1-941753-59-0 Design by Content Object Co-published by Inventory Press, Williams College Museum of Art, Vincent Price Art Museum, and Independent Curators International Published to accompany the artist’s first retrospective exhibition, Teddy Sandoval and the Butch Gardens School of Art examines the work of the inventive yet overlooked Teddy Sandoval, a central figure in Los Angeles’s queer and Chicanx artistic circles. Sandoval was known for producing subversive and playful artworks in a range of media that explored the codes of gender and sexuality, particularly conceptions of masculinity.

This publication surveys Sandoval’s work alongside other queer, Latinx, and Latin American artists whose practices profoundly resonate. This expansive catalogue features essays by C. Ondine Chavoya, David Evans Frantz, Raquel Gutiérrez, and Mari Rodríguez Binnie, as well as biographical entries on other artists featured in the exhibition, including Félix Ángel, Myrna Báez, Álvaro Barrios, Ester Hernández, Hudinilson Jr., Antonio Lopez, María Martínez-Cañas, Marisol, and Joey Terrill.

[brynerasmussen]

View this post on Instagram

A post shared by Chris E. Vargas (@chrisevargas)

[brynerasmussen]

This was a pleasure to copy edit and proofread. Go get your copy now.

TRANS HIRSTORY IN 99 OBJECTS

Eds. David Evans Frantz, Christina Linden, Chris E. Vargas

Surveying over four centuries, this volume brings together a wide-ranging selection of artworks and artefacts that highlight under-recognised histories of trans and gender-nonconforming communities. Through the contributions of artists, writers, poets, activists, and scholars, this title reflects on historical erasure to imagine trans futures.

Contributions by K. Bornstein, R. Brodell, V. Davis, L. DeVun, M. B. Dick, Z. Drucker, D. Getsy, M. Gutierrez, A. Jenkins, J. Guarano Kuriki-Olivo (Puppies Puppies), T. (T.) Jean Lax, A. J. Lewis, M. A. López, A. Mac, C. Metzger, D. A. Miranda, M. M. Page, SA Smythe, C. Riley Snorton, D. Spade, S. Stone, J. Tang, M. Tea, McKenzie Wark u. a.

304 pages, 287 colour illustrations 19.4 x 25.4 cm, softcover

[brynerasmussen]

Monte Vista Projects shared a post on Instagram: "MONTE VISTA PROJECTS is pleased to present 𝘼𝙧𝙩𝙞𝙛𝙖𝙘𝙩𝙨 𝙤𝙛 𝙎𝙚𝙣𝙩𝙞𝙚𝙣𝙘𝙚, a multimedia group exhibition curated by Molly Schulman and Bridget Batch. Join us for the artists’ reception on September 17, 7-10pm and a live projected performance for the closing on October 2, 2pm. Artists: Bryne Rasmussen, Cindy Jeffers, Elizabeth Leister, Gottfried Haider, Salomeh Grace, Sarana Mehra, Selwa Sweidan, Soyoung Shin, C. Tai Tai, TOWERS Image Credit: Bryne Rasmussen, ALL IS PERFECT, animated GIFs, duration variable 2016/2021 @bryne_r @cindyjeffers @elizleister @mrgohai @salomeh_________ @sarana_mehra #selwasweidan @youngasaurus @taitaistudios @studio.towers @bridgetbatch @mollyshoelace". 

[brynerasmussen]

Walkthrough of Artifacts of Sentience with Molly Schulman and Bridget Batch at Supercollider

[brynerasmussen]

View this post on Instagram

A post shared by SUPERCOLLIDER (@supercollider.la)

[brynerasmussen]

Artifacts of Sentience

February 13–April 26, 2021

SUPERCOLLIDER, Inglewood, CA

Curated by Molly Schulman and Bridget Batch

Featured Artists: Émilie Brout & Maxime Marion, Sarana Mehra, Bryne Rasmussen, Soyoung Shin, and Tina Wang

“After this grueling and unparalleled year, we begin 2021 by reflecting on our collective history, our contributions to, and legacies, for future generations. Humans are compelled to leave a mark, scratch graffiti scribbles for millennia. The internet is the largest and most inviting blank wall of all. As two artists and mothers in conversation, we realized that we are the last generation to have experienced a childhood sans internet and thereby the last to have that experience inform our parenting. With distanced learning and with parents working from home, this global pandemic has overwhelmingly forced tablets into kids’ ever-demanding (and human-defining) opposable thumbs. As we each publish our own mediated content, who will be the writers corralling our history?

Artifacts of Sentience places works together that contemplate, shift, bend and play with technology’s effect on our daily interactions, systems of communication, and psyches. The exhibition’s artists delve into lesser known histories within the typically male-dominated fields of Big Tech and the internet. The ubiquity and advancement of the internet and its better half, the smartphone, redefine our language, habits and personæ. As our virtual and corporeal identities merge, our systems of communication shift. An unceasing flow of information is a finger tap away—or at least within arm’s reach as in Denim, a sculpture by Émilie Brout & Maxime Marion, which captures how deeply enmeshed we are with our personal devices by immortalizing the etching left by the smartphone in one’s back pocket. This habitual stowage deteriorates the fabric housing and, via electromagnetic radiation, potentially destroys the very cells the fabric is meant to shield.

In direct reference to the foundation of these now integral components of our lives, Soyoung Shin’s symbolic tapestry A Realization of Ever-Extending Relationships commemorates early female computer programmers, including two of the six who wrote the language for ENIAC, the first supercomputer whose binary code was based on the jacquard weaving Shin employs.

For ALL IS PERFECT, Bryne Rasmussen has created a series of Animated Graphic Interchange Formats—otherwise known as GIFs—a media format definitive, endemic, and memetic to the internet. Each GIF features a different piece of aspirational wisdom, culled from various dark corners of the internet—enigmatic cult-leader-wannabes who broadcast via Youtube, a Sufi mystic, a media theorist, Russian literature, a corporate motto, to name a few. Extracted from their original platform, Rasmussen transforms them into thoughtful, mantric aphorisms (well, mostly).

With its predictive, autocorrected text and Emoji features, smart technology can be a valuable and often necessary part of our daily visual culture. The universality of Emojis, set by the international organization Unicode, reflects pop culture while referencing an ancient hieroglyphic language and the uncertain future of a communication system that is constantly evolving. Emojis enhance the emotional weight of a text or email and the smartness of our phones often fills in the blanks in our minds, by anticipating our next thought, leaving the question of who or what is doing the feeling or thinking. At the same time, interpreting typos and faulty predictive texts causes recurring miscommunications and frustrations. When was the last time you picked up a pen and piece of paper? When was the last time you did NOT use a 😀  ❤️ ❗?

Sarana Mehra’s sculptures appear as ancient artifacts extracted from an archeological dig to riff on Unicode-approved Emojis. Mehra’s triptych Tablet references Emojis depicting municipal buildings with neoclassical and Eurocentric architecture, pointing to the presumption that such imagery is regarded as the universal representation of all institutions. She then degrades the surface of each tablet, obfuscating and defying its provenance. Soon these symbols, along with our online identities, will be an artifact of a foregone virtual language and culture, mere snapshots of the early 21st Century.

Now, in the midst of a global pandemic, an individual's online presence has become a lifeline, a replacement for in-person interactions. Zoom meeting after Google Hangout after Facetime after Instagram Live after Postmates delivery after Netflix, we plug in our phones to recharge next to our beds as we slumber, burnt out from an exhausting day of being online. We awaken the next day to the ding of our alerts, pondering how long we can sustain this online lifestyle. No wonder record numbers of people have been baking bread! Movement and performance artist, Tina Wang, has recently begun a series of performances investigating comfort and its relationship to isolation and technology throughout the pandemic’s imposed physical distancing. During the exhibition via Zoom, she will present two related performances, /死角/esquinas mías//Closed for Business. The first performance will be documented within the confines of her living space; for the second performance, Wang will venture outside, confronting the lamplit quiet of evening.

Ultimately, to not embrace the digital world and consign oneself as an outlier is impractical and near impossible. But those of us who remain within the greater stranglehold of industrialized culture get to make choices. Undeniably, there is a tension that will only continue to build as we ask ourselves important questions—who are we offline, online and what is the distinction? The artists selected for Artifacts of Sentience come from varying backgrounds and practices, but they each incorporate their relationship with modern technology using a sense of delicacy while flirting with destruction. They choose to apply digital technology and its particularities as opposition or as tools, but always as something to be profoundly considered.

Writings:  Molly Schulman and Bridget Batch

Edited by: Janna Avner”

[brynerasmussen]

Infinite Leaks in the Memory Palace screened recently at New Media Fest 2020, Stützpunkt Teufelsberg, Pressestelle, and Institut für Alles Mögliche, Berlin, Germany, which is very auspicious since the listening station location was researched during the original production of the work.

[brynerasmussen]

Many years in the making! Was an honor to be the assistant editor on this massive project with Walead.

Walead Beshty, ed., Picture Industry: A Provisional History of the Technical Image, 1844–2018, ex. cat. (Zurich: JRP|Ringier, 2018).

From JRP|Ringier:

Curated by Walead Beshty, the exhibition "Picture Industry" explores the rich history of mechanically reproduced imagery from the 19th century to the present. It reflects upon transformations in the production, distribution, and consumption of photographic images as realized through its varied constructions of the corporeal, from its origin as a scientific tool and means of cultural investigation to its phenomenological effects on the viewer. The exhibition complexifies traditional accounts of the medium, drawing on its application in science and the humanities to contemporary art, and includes works and photographic documents by over 100 artists and practitioners spanning the late 19th century to the present. To accompany and extend the exhibition, "Picture Industry—A Provisional History of the Technical Image, 1844–2018" is a major anthology of historic and contemporary writings by over 200 contributors, providing a rigorous and expansive survey of the photographic medium from its inception to now. It offers a resource through which to consider dominant threads in aesthetic theory, including selections from structuralist and poststructuralist explorations of representation, to German media theory, the study of cultural techniques, and the still-burgeoning realm of new media theory. Rather than attempting a definitive history, the publication posits an alternative approach to the myriad questions and debates associated with representation, presenting its technological history as inextricable from the social history of media, and staging this through the complex and multivalent relationship between the photographic image and the body, whether the body of the viewer, or that of the image. It includes excerpts and reprints of seminal texts, facsimiles of historical publications, and a series of edited conversations with artists Stan Douglas, Hito Steyerl, Martha Rosler, and Stephen Shore. Contributors include Ariella Azoulay, Ericka Beckman, Walter Benjamin, Alphonse Bertillon, Sarah Charlesworth, Walker Evans, Vilém Flusser, LaToya Ruby Frazier, Tristan Garcia, Dan Graham, Morgan Fisher, Lyle Ashton Harris, John Heartfield, Arthur Jafa, László Moholy-Nagy, Marshall McLuhan, Edweard Muybridge, Gordon Parks, Jacob Riis, August Sander, Wolfgang Tillmans, Alan Turing, and Kelley Walker. Walead Beshty (b. 1976, London, UK) is an artist and theorist working in Los Angeles, and Associate Professor in the Graduate Art Department of Art Center College of Design. Published with Luma and the Center for Curatorial Studies, Bard College, on the occasion of the exhibition "Picture Industry: A Provisional History of the Technical Image, 1844-2018" at Parc des Ateliers, Luma Arles, Arles, October 13, 2018–January 6, 2019.

[brynerasmussen]

Summer breeze #architecturearchitecturalandarchitecture @aplusd_la #houseofstyleworldwide (at A+D Architecture and Design Museum>Los Angeles)

[brynerasmussen]

architecture, architectural & Architecture

June 16, 2017–July 2, 2017

Architecture and Design Museum 

[brynerasmussen]

If you are in NYC go check out this amazing exhibition organized by friends! A video of mine will be included and I will be donating to PP since I can’t make it out to buy work in person. 

[brynerasmussen]

View this post on Instagram

A post shared by Books at Manic (@booksatmanic)

neverhitsend was invited to contribute a text to the just released collection of writings on collectivity and collaboration in contemporary art, Concerted Efforts edited by Samanth McCulloch and Christopher Williams-Wynn. Contributors include A Constructed World, Basel Abbas and Ruanne Abou-Rahme, bomb collective, Catherine or Kate, Charles Green, Courtney Coombs, Critical Art Ensemble, Institute for New Feeling, Rachel Haynes, Raqs Media Collective, Ruth Anne, SOAP, and Sober and Lonely Institute for Contemporary Art. Published by Surpllus and available for purchase through Books at Manic.

[brynerasmussen]

Going to be partying and providing visuals for the next Replicants. Do not miss it!

Weird techno shit all night long @ DTLA RSVP + Buy Early Bird discounted presale here: http://www.restlessnites.com/replicants/ FEATURING: Carlos Souffront (three hour set) Israel Vines Aaron Ocean ASR pres. Unguided Meditation Super limited capacity. Downtown Location. 21+ Must have presale or RSVP for entry. MORE ABOUT OUR REPLICANTS: Carlos Souffront (Inderdimensional Transmissions – Detroit / SF) - THREE HOUR SET https://soundcloud.com/honeysoundsystem/carlos-souffront-live-at-honey Carlos Souffront is a music gourmet, a true DJ's DJ. His taste is rich and vast and he has the unique ability to create deeply rhythmic narratives that offer unexpected and exotic spices. He mastered his deep mixing skills with a cassette deck and a belt drive turntable in his father's den in Troy, home of contemporaries such as Mike Servito, Tadd Mullinex and Matt Dear. Equally entrenched in indie rock, post punk, experimental music, ambient, rock, house, and techno, Carlos was always a man of many worlds - with an ability to traverse though them with an unique imagination. There is a mood to his search within sound, something that is heavy, deep yet gritty. Like many Caribbean transplants that ends up in northern colder climates, he wonders where our rhythmic complexity is. For him it is effortless and endlessly surprising to the listener. Carlos is an important component of the Interdimensional Transmissions parties, bringing a loose yet tight moody deepness and an ever unexpected edge. At the original No Way Back party, he demanded truth in advertising, pushing us to and then past the 12 hour mark. He has participated in the studio with Ectomorph, and also performed alongside some of their live performances. It is all too rare to find someone within the electronic music spectrum that can be called an original, that you can only really explain to someone who experienced them on the dance floor, usually just by saying "that's so" and saying their name. Carlos is one of those rarities. -- Israel Vines (Eyeteeth, Borrowed Language – Los Angeles) https://soundcloud.com/israel-vines/live-blank-code-oktave-official-movement-opening-party-the-works-detroit-may-27-2016 Israel Vines is a veteran selector with over two decades of experience and little patience for mediocrity. Bred in the 90's underground scene of the American Midwest, he now lives and works in Los Angeles. DJ. Producer. Remixer. -- Aaron Ocean (ele_mental, Music For Nightclubs – Los Angeles) https://soundcloud.com/musicfornightclubs/aaron-ocean-mix-for-replicants-no-2 Aaron Ocean (fka Andromeda fka Ghost fka Citizen fka Tentochi) has been djing for over two decades and was reared in 90s midwest rave scene. Now based in Los Angeles, he's continuing to bring his obsessive, hypnotic touch to weird dancefloors. -- ASR pres Unguided Meditation https://soundcloud.com/mysteriesofthedeep/xlix The fully woke ASR will be closing the night with an unguided meditation, composing an ambient soundscape from audio found on Youtube. Bryne Rasmussen-Smith http://bryne.rasmussen.com/ Bryne will be providing visualizations for the evening. Her work often explores the intersection of spirituality and the internet in emerging digital communities.

[brynerasmussen]

Next Saturday, June 11, join me for the Featured Video Artists reception at lacda. If you haven’t seen Your Baby, Your Way in person—now is your chance.

[brynerasmussen]

Nice mention of the House of Style, Dream Bed at The Rendezvous, One Night Stand for Art and Architecture on Archinect.