February 18, 2009

Theory Notecards


As a continuation of participatory practice, my first volume of Theory Notecards (2006-2009), initiates “owner-specific” participation:

“The blocks represent text-bisected versions of the same notecards I use to teach art theory. Participation is owner-specific: buyers of the blocks are authorized to decipher the bisected text and attempt to ‘complete’ my notations. My bisected text is written in Conté and protected from erasure by fixative. All individual blocks will be reunited for a future exhibition to share the actions (or non-actions) of individual block owner-artists.”

I have now launched Theory Notecards ON-LINE for purchase. This is not a solicitation: I expect that few fellow artists or former /current students will buy blocks (although 7 blocks were purchased by fellow artists - this indicates their comprehension of my concept and willingness to support it, and for this I am grateful). I am keeping you apprised of my pursuits and trust you will understand my motives are the exposure of my work.

Image: Notecard 59(55): Con.Art (2006-2009); blackboard paint, Conté & pencil on birch; H4"xW6"; © Copyright by Mark Cameron Boyd.

February 12, 2009

Sondheim Semi-Finalists

2009 Janet & Walter Sondheim Prize Semi-Finalists

Seth Adelsberger, Baltimore, MD
Alzaruba, Baltimore, MD
BDC (Baltimore Development Cooperative), Baltimore, MD
Lisa Blas, Washington, DC
Rachel Bone, Baltimore, MD
Jessica Braiterman, Beltsville, MD
Travis Childers, Fairfax, VA
Mary Coble, Washington, DC
R.L. Croft, Manassas, VA
Alyssa Dennis, Baltimore, MD
Liz Ensz, Baltimore, MD
Leslie Furlong, Baltimore, MD
Ryan Hackett, Kensington, MD
Christian Herr, Lancaster, PA
Jason Horowitz, Arlington, VA
Jessie Lehson, Baltimore, MD
Kim Manfredi, Baltimore, MD
Katherine Mann, Baltimore, MD
Baby Martinez, Washington, DC
Sebastian Martorana, Baltimore, MD
Lisa Moren, Baltimore, MD
Ellen Nielsen, Baltimore, MD
Louie Palu, Washington, DC
Molly Springfield, Washington, DC

February 1, 2009

Oppositional interaction

Adminstrator's Note: The following is a comment about my "Theory Notecards" installation by RiseInRuin. In addition to its intriguing take on my piece, what makes his/her view even more interesting is that he/she lives in Chicago, has not seen and may never see my Hamiltonian Gallery installation in person. A testament, perhaps, to the "power" of a concept? Regardless, I post it here, with RiseInRuin's permission, [as is, no corrections] in hopes of generating further discussion.


"I like this. Interactivity, it seems to me, is a process contingent upon varying degrees of opposition. Even if someone were to take action by not acting in any physical way, the words on the block would alter in correspondence to the non-physical-actor’s agreements and disagreements. The dissimilars in that relationship would strengthen each other through the power of thier(sic) disparity. The similarities of the relationship are only similar because of the context of mutual opposition. It is a play of dissonance and resonance, where the disonant(sic) “illuminate” each other through mutual opposition, and the resonant “dissolve” into a powerless sameness. The resonances, to my thinking, become lost as one center of convergence, where the disonances(sic) become powerful as many disparate “entities”.

The non-physical-actors in relation to the physical actors (if I have you right) become degrees of oppositions as well, where the actors contrast the non-actors, and strengthen each other.

The experience of interactivity with the blocks is, to me, a feeling of convergence - of center - that is only centered as the mutual oppositions pull tug at each other to the edges of the body.

I like it a lot. To me, it is a blatantly expressive entity where the similarities in both a private, and collective experience, go through entropy while the dissimilarities are surged with power that tugs at the body of feeling. One is centered from the edges. Though, the edges are multifarious with different textures, colors etc., that oppose each other to varying degrees, making the center of experience a weighted, layered, array of complex properties.

Glad I ran into this. I’ve never really explored interactivity in art.

Thanks."