Taking Brad Back: an interview with Holiday Black, Emily Raw, and Laura Marie Marciano

The radically glitterful Holiday Black, Emily Raw, and Laura Marie Marciano, all came together to write, direct,  score and star in the audacious gemstones produced “BRAD” video.

Brad is an archetype many self-identified females are extremely familiar with. No one likes Brad.  In fact, we loathe BRAD.  There have been times, we used to love to hate him or hate to love him.  The BRAD video  breaks it all down for us.  It is, among other things, a bold, creepy and radically joyful take down of patriarchy.   It’s pretty on the surface but brash and loud beneath the paper trail of Brad.

Working on the registers of play, truth, and social critique, these artists deftly guide us through the uncanny abyss of “HIM”.   Brad has become a  thing, a flattened lifeless  paper droid. For our own self reflection, possibly even for fun.

We are taking Brad back.  And He is ours now. This isn’t all about Brad as much as this is about all of us.

This video is glitter and guts.

BRAD in bed

So Who is Brad?

Holiday: The original Brad is a white man. Actually, he is a republican political consultant. Not kidding. He believes in hamburgers and strip malls–let freedom ring, right? He’s the absolute limit of patriarchal masculinity, and simultaneously it’s apex. Brad is a force of a colonial empire building which finds it’s basis in white-washing, consuming, and firm borders that police who we can be. He possesses of infinite authority, yet is made out of paper. For me, his cardboard form brings up a lot of questions about what masculinity means as defined by the patriarch–and what does femininity mean in contrast? I don’t know. Are these just questions about gender or do the questions about gender also intersect with our reading of Brads IRL who look capable, stoic, clean–do these virtues mirror our conception of nationhood/patriotism? And what does that mean? Idk. For me Brad brings up all these things, so I’m not even sure that he is just one person.

Laura:  Brad – Brad was born from Holiday’s head when we ladies were driving up a mountainside to protest the death of Ana Mendieta last winter. We were all pretty emotionally wrecked and we were so happy to have found the archetype of the patriarch, aka Brad to spew our hatred towards.It was a fucked up day. Emily even comfort braided my hair.

brad_ferry_takeover Creepy Brad

Emily: Holiday’s much better at putting this into words than I am — there are reasons I work in images – but Brad is the gatekeeper. He is the embodiment of white-cis-hereto-patriarchal-capitalist privilege, entitlement personified. I had a hard time explaining to people before making the emoji who Brad was, would try & get a wall of blank stares in response, but as soon as an image existed everyone immediately recognized him. We all know Brad.

Tell me a little bit about the story behind the making of Brad?

Holiday: This time last year I was a teacher at an extremely conservative private school on the upper east side. One of my most abhorrent (ok I also secretly adored her) co-workers was a woman with a husband she talked about all the time. She used to vent to me and I heard all about this man’s thoughts on American Sniper and his dreams of buying a mansion in Connecticut (which he would fashion w/ 6 flat screen tvs, duh). I heard about how he would come home drunk and act like a toddler, and about how Brad picked a fight at Bed, Bath and Beyond over monogrammed pillows. Between the draconian school policies and non-stop Brad anecdotes, I felt like I was working in gringots. It took six months of hearing about Brad before I finally met him at a school fundraiser (where he actually told me that I liked teaching and classroom dynamics because it was like reality tv, which of course women like because it’s such ‘mindless’ entertainment) but for those first six months I started imagining him as a character subject to my own imagination. I took notes.

Emily, Laura, Monica, Gio and I all met up to caravan to JT’s Crying; A Protest at DIA Beacon. We were just talking about our shitty lives and exchanging tales of misery when my Brad and the patriarchy inevitably surfaced as conversation fodder. People seemed to relate to my Brad-related angst, and I was stoked because it made me remember that this tension and frustration I harbored for Brad didn’t exist in a vacuum. Like, the reason Brad made me wanna shove my head through a brick wall wasn’t because I didn’t eat breakfast or was pmsing or something. The anger I had towards Brad was something bigger than the forever-present 13 year old mall brat deep inside me–it wasn’t just idiosyncratic. I guess in an oppressive world, one thing we all share is this sense of a silent, invisible tyranny. Naming the omnipotent felt important. Dashing through the snow that day in Laura’s car, it felt good to widdle down the ambient doom into this one asshole dude–Brad.

read more →

║║║THIS WEEK IN NET ART║║║

!@

the most future humanoid earthlings have ever known has left us at 69.
as the left behind, we shall stay blessed in his frequency,
honored by auditory stardust airwave absorption—
░░░░░░░░▓▓▓▓ RIP DB ▓▓▓▓░░░░░░░░
U LIVE 4EVR IN OUR HEARTS
(& ON MP3)
#prayerhandsemoji

!06_claudia_3_sm

& many thanks 2 Lorna Mills for sharing this beautiful collection of Bowie GIFs she created/curated in 2011~


Nude Descending a Staircase by Carla Gannis

+Carla Gannis: A SUBJECT SELF-DEFINED

////////////////////////////////////////////////////////
OPENING RECEPTION
Saturday, January 23 from 6 – 10 PM
////////////////////////////////////////////////////////
TRANSFER gallery
1030 Metropolitan Ave, Brooklyn
thru March 12, 2016

TRANSFER is pleased to present ‘A Subject Self-Defined’ the gallery’s second solo exhibition with NYC-based artist Carla Gannis. “A Subject Self-Defined” is a new body of work from Carla Gannis that addresses issues of branded identity; age and body estimation; catastrophe culture; and online agency via static, dynamic and interactive “selfie” imagery.

The woman’s face has served as the muse of the male gaze throughout art history. Artists such as Artemisia Gentileschi, Frida Kahlo, and Cindy Sherman have subverted this idea of woman as figure, as a mere face, and as muse through self-portraiture. They called into question what happens when a woman turns the paintbrush and, in our contemporary times, the camera, to her own face.

In ‘A Subject Self-Defined’, Carla Gannis provides the viewer with multiple vantage points that traverses various forms of self-portraiture and mixed-media methodologies. Her series converges a wide array of technologies – drawing, painting, animation, social media, and augmented reality – together to serve as the artist herself re-represents herself.

Statement from the Artist:
“My selfie drawing series began one year ago as a search, turning my gaze upon myself (and my electronic devices) to see what I might find there. I felt vulnerable at first, speaking more directly through my own voice, and using myself as a character in the digital narratives that seem to be my most natural form of expression.

The culmination of this body of work as a solo exhibition of large-format looped moving images takes its title from Joseph Kosuth’s 1966 neon sculpture that spells out and is eponymously titled ‘A Subject Self-Defined.’ He belonged to a group of artists involved in stripping down the art object, reducing it to ideas and information that were detached from personal meaning. Forty-nine years later, when we find art in the age of networked identity and digital dematerialization, I am perplexed by subjecthood and self-definition in relationship to the “personal” when performed publicly.”

WITH NO END IN SIGHT by MIGUEL DIZMOLOGY OVALLE
(premiered at STIMULATION OVERLOAD)

+read this article if you missed the opening of Superchief Gallery Soho
& stop by for gallery hours this week Tuesday/Thursday 1-9,
when a portion (including Miguel Ovalle, featured above) of the massive amount of artists exhibited in their grand opening show STIMULATION OVERLOAD will be present to vybe with u ☆*:.。.o⌒(o*゚▽^o)ノo.。.:*☆
@ Superchief Gallery Soho
@The Hub, 138 Sullivan street, NEW YORK

++ALSO, the show featured a screen devoted entirely to ~*NewHive*~,
curated by me, which will be available forever for all to see in this collection

Opening Folders by Emilio Gomariz

Deep Gradient by Emilio Gomariz

+Emilio Gomariz: Opening Folders
check out these and more pieces from the Net Artist’s psychedelic psychotically delightful ongoing screen video capture project Opening Folders!
In the title piece of the series, the folders are placed on desktop following a concentric and symmetric layout but they are named by numbers in a clock wise direction, with 8 folders on every corner and the rest in the center, this composition makes the user create different animated transitions as the folders are selected differently before to open them. Though each corner uses a different gradient background design on the folders placed in, the same for the ones in the center, this makes a visual coherence while they are animated. A good example of breaking that visual flow is when in the minute 2:05 the folders are arranged by name on the right side of the desktop and selected by order through cmd + A, they still open by order but the gradient designs are alternated provoking a greater complex visual.
For Deep Gradient, the folders are opened from top to bottom and vice versa, just using the keyboard shortcuts, playing with the idea of linking the consecutive opening action with the colour hue of the gradient. Thus every folder has a different background, same design but changing its hue (360º of a colour hue cycle has been divided by 31 folders, so each folder has increased its hue 11,61º to complete a entire cycle between the first and the last folder) making a visual effect such as colourful tunnel or video feedback behaviour.
The Opening Folders series is part of Emilio’s larger Macintosh Lab project. He is currently based IRL in Alicante, Spain.

10yearsatthezoo

Banner_las-naves2 (1)

+Ten Years at the Zoo
Las Naves
Valencia, Spain
closes January 16, 2016

The first video EVER on YouTube was uploaded at 8:27 p.m. on Saturday, April 23, 2005. It is called “Me at the Zoo,” and it features the musings of Jawed Karim, one of the site’s founders, as elephants nose around in hay behind him.
Ten Years at the Zoo is a group exhibition of video and installation that examines the impact of Youtube on contemporary art generated and distributed specifically for the network since its inception until today to mark the tenth anniversary. “Me at the Zoo” has survived for ten years during which Karim et al have helped to revolutionize the field of communication, information and expression of human beings through audiovisual.

The sample consists of an environment where nature abounds in artificial quartz stone- questioning the limits of biology, while referring to the idea of digital dump. the projection of six videos by selected artists who identify their location for creation in the Internet itself, i.e. whose work lies by and for the network without a physical place beyond the border of cyberspace. Acclaimed New Media artists Andres Galeano, Claudia Maté, Emilio Gomariz, Lorna Mills, Vince McKelvie and Katie Torn have each created videos for this show.
The free distribution of such works through internet line happens in some collective intelligence, so the exhibition answers a sociological research query from an artistic and philosophical point of view.

Slow Hot Computer User Test by Sam Lavigne

+WordHack XIX
(featuring an *OPEN PROJECTOR* (like an open mic for digital work)!!!)

Thursday, January 21
7:00 PM – 9:30 PM
Babycastles
137 W 14th St, New York
SUGGESTED DONATION $5-10

WordHack is a monthly evening of performances and talks exploring the intersection of language and technology. Code poetry, digital literature, e-lit, devArt, coders interested in the creative side, writers interested in new forms writing can take, all are welcome here.
there will be an *OPEN PROJECTOR* (like an open mic for digital work) where anyone can come up and show their work (for 5 minutes). Signup starts at 6:45, performers start at 7:15.
This month will feature talks and performances by:

SAM LAVIGNE
STEPHANIE ROTHENBERG
CHRISTIAN HAWKEY
CAT TYC

Host: TODD ANDERSON
Lead Organizer: CLAIRE DONATO

phonewave_7

phone wave preview
see full project on @brainztain’s Instagram feed

+Become part of the first ever Phone Wave EP
by leaving a short message at 1-818-649-WAVE
(WAVE =9283)
by BrainZtain

FAQ’s:

Q: What is Phone Wave anyway?
A: It is music with telephone recordings as central elements. Phone Wave captures a collective snapshot of overlapping cyber-space cultures. It destroys the collaborative boundaries sometimes upheld by varying art forms and skill levels. And yes, I made it all up.

Q: What should my message say?!
A: There are no rules, but you can start off with your name/handle followed by a short greeting, poem, rant, singing? Something in your own language? Make a weird sound? Just be creative and have fun. Short and interesting messages will work best but don’t limit yourself, if you have an idea that takes more than 20 seconds, be my guest. I will do my best to fit everyone on the 4 tracks, especially if I contacted you directly. Who knows, maybe It will turn into a full album.

Q: I’m International and don’t want to spend money calling long-distance, but still really want to be part of it…
A: It’s all about the voicemail aesthetic, but e-mail me a recording at retrodeaf@gmail.com cuz I will break my own rules in the name of art

Q: Uh, is the Phone Wave EP, like, trying to be a vaporwave mix tape? like, cuz I only, like, like real Vaporwave and Mallsoft and Donald Trump, like…
A: No, I just like vaporwave aesthetics so this EP and its artwork might be heavily influenced. Phone Wave is more about the underlying concept (explained in the definition above) and phone voicemail aesthetics.

Q: Can I make Phone Wave?
A: You can, and you SHOULD

Q: Why are you doing this?
A: Cause I can <3 <3 <3

#BrainZtain
#vaporwave #seapunk #webpunk #netpunk #cyber #cyberghetto #leanified #edits #editme #younglean #art #sadboys #fijiwater #aesthetic #glitchart #collageart #collage #vhsglitch #bitwave #8bit #pixelart #vhswave #netart #glitch #phonewave

BRAD is coming

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Poets and filmmakers Holiday Black, Emily Raw, and Laura Marie Marciano joined creative forces to summon an evocative poetry video entitled “BRAD,” featuring a cardboard cutout named Brad and perhaps even a love affair with said cutout.

“Structurally the video’s a truncated horror comedy satirizing romance tropes, a joke among friends. But jokes, of course, are super serious. We were taken aback while filming by the response to the Brad object. To us he was relentlessly creepy. Holiday & I both freaked out walking past him in our apartments. You’d head to the bathroom in the night & catch him out of the corner of your eye, sitting there leering… Ugh, I’m still shuddering,” says Raw.

The teaser for BRAD is now live, but the full video will be aired at Gemstone Readings Winter Mourning event at  A.I.R. GALLERY tomorrow (Friday) at 7 PM.

The video will also be available for viewing online next Tuesday at NewHive accompanied by an exclusive interview with its creators.

BradPark

“The original Brad is a white man,” says Black. “Actually, he is a republican political consultant. Not kidding. He believes in hamburgers and strip malls — let freedom ring, right? He’s the absolute limit of patriarchal masculinity, and simultaneously its apex. Brad is a force of a colonial empire building which finds its basis in white-washing, consuming, and firm borders that police who we can be. He possesses of infinite authority, yet is made out of paper. For me, his cardboard form brings up a lot of questions about what masculinity means as defined by the patriarch — and what does femininity mean in contrast? I don’t know. Are these just questions about gender or do the questions about gender also intersect with our reading of Brads IRL who look capable, stoic, clean – -do these virtues mirror our conception of nationhood/patriotism? And what does that mean? Idk. For me Brad brings up all these things, so I’m not even sure that he is just one person.”