joy garnett
Since the beginning
Works in United States of America

ARTBASE (1)
BIO
Joy Garnett is a painter based in New York. She appropriates news images from the Internet and re-invents them as paintings. Her subject is the apocalyptic-sublime landscape, as well as the digital image itself as cultural artifact in an increasingly technologized world. Her image research has resulted in online documentation projects, most notably The Bomb Project.

Notable past exhibitions include her recent solo shows at Winkleman Gallery, New York and at the National Academy of Sciences, Washington, DC; group exhibitions organized by the Whitney Museum of American Art, P.S.1/MoMA Contemporary Art Center, Artists Space, White Columns (New York), Kettle's Yard, Cambridge (UK), and De Witte Zaal, Ghent (Belgium). She shows with aeroplastics contemporary, Brussels, Belgium.

extended network >

homepage:
http://joygarnett.com

The Bomb Project
http://www.thebombproject.org

First Pulse Projects
http://firstpulseprojects.net

NEWSgrist - where spin is art
http://newsgrist.typepad.com/

Discussions (685) Opportunities (5) Events (8) Jobs (0)
DISCUSSION

(Artist Wills Remains to Guggenheim Museum) recently posted to underbelly, Newsgrist...


I can't resist reposting this:
NEWSgrist-Underbelly
http://pub11.bravenet.com/forum/870870569/show/246955

media@shishaldin.com
Mar 15, 04 - 1:32 PM

Artist Wills Remains to Guggenheim Museum

New York based artist Shishaldin has left her remains as a bequest to the
Guggenheim Museum.

BROOKLYN, NY (PRWEB) March 15, 2004--It has been said that everyone loves
you when you are dead, but New York artist Shishaldin has undertaken an
unusual approach towards achieving artistic immortality. Under the terms
of her will, her remains are being left to the Guggenheim Museum in New
York with the stipulation that they are to be freeze dried and displayed
nude in a prominent location.

"The museums are like cemeteries, filled with art by dead people. This is
actually a very conventional approach towards making art." says the
currently very much alive Shishaldin.

The Guggenheim has been mum so far on this unusual bequest. Has it
occurred to the artist that they might actually decline her endowment(s)?

"Why on would they do that? Hot naked chicks in the lobby are great for
business."

About Shishaldin:

The 22 year old artist resides in Brooklyn where she is a MFA candidate at
Pratt Institute. She originally hails from Alaska where she was the
statewide women's tennis champion. She is the recipient of numerous awards
in tennis and track and recently completed a piece called Berserker: Meat
Marathon wherein she ran the 2003 NYC Marathon clad in salami. She has
been awarded Outstanding Merit in Sculpture from Pratt Institute and was
featured on the cover of The Coagula Art Journal. Her work will be on
display March 22-28 at the Steuben East Gallery, Pratt Institute, 200
Willoughby Avenue, Brooklyn, New York

fpr more information:

media@shishaldin.com

Http://www.shishaldin.com

+
-

DISCUSSION

Re: Re: Re: found: molotov


dear Jo,

Many thanks for your kind thoughts. The sad fact of the matter is SM
sicced a very nasty lawyer on me, and I've only written to her myself in
response -- I have her email, cc'd me by her lawyer. I've never received any
communication or a response in kind directly from her, which she might
have done at the outset (instead of suing me). She possibly has me pegged
for something that I'm not, or else she's too busy and has left the
matter to the nasty lawyer. Anyway, I'm tired of second-guessing. It
seems, however, that things have cooled down, so perhaps the matter has
been dropped.

best,
Joy

Jo-Anne Green wrote:
>
> Hi,
>
> I've been following Joywar with a great deal of interest and enthusiasm. It's been wonderful to see so many artists generating new work in solidarity with Joy. Now that the photojournalist has been identified


DISCUSSION

thoughts on Appropriation versus Sampling


I keep saying to myself: Sampling is the Appropriation of the 21st century.
So what are the differences? Some distinctions stand to be made.

I'm beginning to realize that the plaintiff in my case regards Molotov as
pure Appropriation; but I've been thinking about what I do as pure
Sampling off the Web -- and that these two things describe our respective
cultures. (The fact that I go on to paint my sampled bits with my eye/hand
is probably just perverse). She hasn't yet made any distinctions between
the two, but I'm bent on doing so.

Here are a few thoughts that have crossed my mind since the beginning of
our discussion:

Appropriation:
- refers specifically to an artistic practice of the 20th century
whereby other artworks (usually) are derived or copied wholesale with
specific conceptual artistic intentions;
- Appropriation usually functions in terms of "parody" or "comment" upon
the original artwork;
- Appropriation always draws attention to the fact or act of the
appropriation, rather than to try to hide the fact; the act of
appropriating is foregrounded in the resulting artwork.
- Therefore, Appropriated artworks are always clearly and closely wedded
to the original, rather than divorced from it; the idea is NOT to make
something entirely new.

Sampling:
- originally meant the taking--stealing--of short segments of
pre-recorded music to be used and remixed in/as a new work;
- the term "Sampling" is increasingly used to denote the use of
pre-existing anything: film, photographs, logos, ads, texts, etc.,
- One difference, therefore, is that Sampling makes use of not just
pre-existing artworks, as does most of Appropriation, but of any or all
material existing in the larger culture. Anything can be sampled. The
increased use of Sampling is certainly a result of the ubiquity of the Web
and digital copying, and the increasing cheapness and ease and ubiquity
of the technology we use to access our "larger culture";
- Sampling is always about taking found bits and pieces in order to make
something entirely new. Remixes disregard and discard the context,
the intended meaning/s and artistic import of the original work being
sampled. Sampling is about creating something new, and not about
commenting on an original.

That's all I've got for now. Clearly the Joywar pieces are both
Appropriations and Sampled Remixes, in varying degrees.

Any thoughts/comments/disagreements ?

-Joy

DISCUSSION

Re: found: molotov


dear Michael et al.,

I agree -- it is sort of tragic.

The real culprit, perhaps, is the person who denounced me to her -- I
believe this must be what happened, and that she never would have seen my
image had not this character meddled and thrown it in her face. She never
would have come across it: our markets and worlds are so different. But
this guy had emailed me weeks in advance of this lawsuit, pretending to
want not to "meddle"; this was the person who made me aware of the
original image, who sent me the Magnum link, and who tried to pressure me
to write to Meiselas. I won't mention his name until I know for sure,
since I could be wrong.

Last week a writer from the Culture Desk at the NYTimes contacted me; my
lawyer and I agreed it could only be hurtful to me at that moment to have
it go "public" (the case seems to have dropped the moment my gallery and
I removed the Molotov images from our websites... hopefully the other
shoe will never drop). I was both desperate to get rid of him and wishing
I could use him: I mean, jeez, the Times, how cool. Clearly Joywar has had
some reach. He asked me a few Qs "off the record" and finally he said to
me: I don't think there's a story here, I mean, why is this person suing
you? Are they crazy? Art has been made from photographs and other artworks
for eons.

I coulda kissed him right there.

best,
J

On Tue, 16 Mar 2004, Michael Szpakowski wrote:

>
> < No dead rats from me.. >
> Me neither. Of course it wouldn't be helpful.
> It does strike me as tragic that someone of such clear
> talent and sensitivity should be so monumentally
> ungenerous to a fellow artist.
> That's why I do think the mirrors and the derived
> artworks matter, both as a gesture of defiance in the
> face of that lack of generosity and as an indication
> that artists, fragmented and isolated as we often are,
> can actually act together in mutual support.
> I hope people will continue to post the image/make
> artworks, although I can entirely understand your
> weariniess with he whole thing, Joy!
> As a matter of interest what is the time scale? -are
> these things incredibly drawn out or is it likely to
> be finished soon?
> regards
> michael
>
> __________________________________
> Do you Yahoo!?
> Yahoo! Mail - More reliable, more storage, less spam
> http://mail.yahoo.com
>