• Double Feature Talks by ProprioMedia Colloquium Series in Media Studies and Research:
    Carl Jones: El Crayolas Project
    Michael Zryd: Hollis Frampton’s Comic Inventory: Parables of Photography and Totality in Magellan

WHEN: Friday, October 24th between 3-5 pm
WHERE: RM 284 @ 100  McCaul

Carl W. Jones [OCAD]

“El Crayolas Project 2005-2013”
Abstract: The artist Carl W. Jones asks: “Is contemporary art authentic, or a manufactured commodity product, sold to an ill-informed capitalist consumer?” In 2005, to answer this question, Jones appropriated Advertising and Contemporary Art ‘tools and techniques’ to create an “artistic product’, titled El Crayolas. This ‘brand’ was circulated throughout the contemporary art world via: art exhibits, billboards, street posters, magazine and newspaper articles. The objective was to make the ‘artistic product’ real and authentic, by creating ‘content’, that was appropriated by the metamedia, and broadcast to the masses during the last nine years. These ‘published messages’ have now become the ‘art’. Communication theorist Marshall McLuhan stated “the medium is the message”, therefore in the exhibition of the El Crayolas Project the original messages were presented in the exact medium in which they were first published. The El Crayolas project demonstrates that artists in the 21st century are not made of genius, but are a ‘commodity product’ created by a consort of: curators, critics, gallery owners, journalists, marketers, and public relations using the metamedia.

Michael Zryd [York University]

“Hollis Frampton’s Comic Inventory: Parables of Photography and Totality in Magellan”
Abstract: The last major project of American filmmaker, photographer, and essayist Hollis Frampton, before his untimely death in 1984, was a massive film cycle, Magellan (1972-84), a grand rumination on the nature of art and consciousness through what he called the “camera arts.” The scope of Magellan was encyclopedic, but Frampton undercut the encyclopedia’s presumption of totality by emphasizing the power of the fragment. Frampton’s invocation, direct and indirect, of such theorists of the fragment as Novalis, Borges, and Foucault, points towards understanding Magellan—and the grand projects of the illusory camera arts themselves—as engaged in a tension between totality and fragmentation, between epistemological structures and the objects and occasions that subtend reality. Frampton’s writings complement the films that comprise the project, and provide insight into the projects intentions and ambitions. His essay, “Digressions on the Photographic Agony,” outlines a parable of photography’s excess and value that bears on how the camera arts inflect illusion, simulation, and the totalizing structures, both material and intellectual, that grow from copious image production.

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WHEN: Saturday October 25th
WHERE: 100 McCaul

The event takes place from 11 am – 3 pm with presentations every hour in the auditorium, studio demonstrations, opportunities to see student work and students-at-work, and to gather insight and information from all of our programs and many of our support services.

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