Misplaced Lens Cap
Today's Document
#extradirty
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$LAYYYTER
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we're not kids anymore.
noise dept.
Cosimo Galluzzi
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祝日 / Permanent Vacation
pixel skylines
Discoholic 🪩
wallacepolsom
Three Goblin Art
todays bird
Claire Keane
Cosmic Funnies
Kaledo Art
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seen from Brazil
seen from South Korea
seen from United States
seen from Malaysia
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seen from United States
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seen from United States
seen from United States
seen from United States
seen from United States
seen from Spain
seen from Morocco
seen from United States
seen from Australia
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seen from United States
@fieldworkk
We drove by again and again, and again and again we thought about stopping to take a photo… and we finally did.
Read about this Stop at its location blog here.
Explore more locations and objects on the Fieldwork map: http://is.gd/fieldworkmap.
“John Rogers & Amy Tavern have wisely set Fieldwork in motion as a living artwork.”
Today’s Guest Writer, artist David Forlano, hails from Sante Fe, New Mexico. David has been exploring Fieldwork over the past few months and his participation caught our attention when he commented on a post on Facebook. The post was about “pairings” and at that time he said, “I love the slow and meditative smattering of posts from this project in my FB feed. With no story attached they come loaded with story. My mind wants to be both still and traveling off in some far away trajectory wondering about the "why" of these things. These are the seeds of story telling and roots of why we make art.” After reading those thoughtful words, we knew David would be an excellent addition to this series. Here is David’s interpretation of Fieldwork in his own words along with a beautiful layered image he created to accompany this post:
The strategies of artists are diverse. A typical flow of work moves from the studio to the exhibition space. There is more than the usual going on In Fieldwork. John Rogers & Amy Tavern have wisely set Fieldwork in motion as a living artwork. I am a big fan of artistic collaborations. Their collaborative efforts with space, movement, experience, memory, maps, places, images and objects invites the viewer to help breath life into this artwork.
I have a habit of scrolling my Facebook feed mostly for images. I am particularly fascinated with synchronistic convergences of images. These are related images that appear on my Facebook feed, one stacked on top of the other. They capture my attention because they have interesting visual connections to each other and no intended relationship. I am instantly occupied with a game of finding the ways these two random images are so similar. After seeing a few striking images of places in Iceland posted to Facebook I find myself watching for more. Images of simple found objects among breathtaking landscapes are being delivered from the same project. The one that catches my attention most is a pair of images side by side: “Pairings. An old truck and four tiny pieces of broken glass.” My interaction moved from innocent bystander to participant in an art project living online. This “pairing” shares some of the curiosity of synchronistic convergences yet is framed more specifically by the artists. They have chosen these things and images. They have put them together, arranged them and mapped them. I find myself thinking they want me to know something. Are they are telling me a story? They are the artists who have planted the seeds that require a larger network of collaboration to nurture the artwork. In an essay, titled “Miraculous cures and the canonization of Basquiat,” Brian Eno says “Stop thinking about art works as objects, and start thinking about them as triggers for experiences.” Fieldwork is built on this principal. As a viewer to this project I am triggered, by their photographs and objects, to engage in this work. I believe what moves artists to make artwork is the level of engagement they can stir in a viewer/audience. John and Amy have traveled and mapped a journey. This was the studio and the performance. Along with ongoing exhibitions in real life there is a constantly unfolding exhibition online. They have carefully selected certain moments and objects to act as triggers. Their crafting of this project does not dictate a specific response. It is open ended. There are as many possible narratives, memories and experiences as there are people engaging in Fieldwork.
To me, Fieldwork is a landscape work. Frozen water, falling water and volcanic activity have been carving a great, sculpted place. The carcass of an airplane and bits of colorful string are no less a part of the landscape than the branches and rocks. A landscape exists with or without human interaction. On its own, it has no story. A story begins when we are placed in relation to the landscape. One way we have been invited into this landscape is through a portal of scale. “Pairings. An old truck and four tiny pieces of broken glass” offers three portals of scale to enter this landscape:
1. Very distant and abstract. Viewing the location on Google maps gives an option to toggle between a satellite photo and the cartographic map. Both options provide an abstract sense of place. It is difficult to place ourselves in this landscape. The map has a location marker for this particular stop and we can begin imagining a place in the world.
2. Human scale. We click on the location marker to find a photo of a turquoise truck with a mountain behind it. We are at human scale now within the landscape. It is easy to place ourselves at the vantage point of the photographer. We are close enough to walk to the truck or even imagine that we might climb inside. Questions about what we are seeing come pouring in and we have animated our story.
3. Intimate/Macro. Advancing to the second image in the pair shows us four tiny pieces of glass found inside the truck. At this intimate scale we can hold the landscape in our hands. Pieces of glass, like ice. This ice floats on a sea that is the palm of our hand. Maybe we have already explored this project and remember the images of icebergs.
Such a wonderful interpretation. Thank you, David.
Explore more locations and objects on the Fieldwork map: http://is.gd/fieldworkmap.
Where is this place?
We don't remember.
As we looked through 100s and 100s of photographs recently, we stumbled upon this dark and ominous image. It was taken with a Cannon PowerShot instead of an iPhone and, therefore, has no GPS coordinates associated with it. We can say it was taken on the first day of the trip, April 18, around 1pm, somewhere between the Beach near Vestmannaeyjar ferry terminal and Þjóðvegur, mountains in mist. We probably stopped to take this picture because of the drama of landscape in that very moment and, as we drove off, we are sure it changed almost instantly.
Explore more locations and objects on the Fieldwork map: http://is.gd/fieldworkmap.
Twitter is one of many ways you can explore Fieldwork…
https://twitter.com/fieldworkk
Explore more locations and objects on the Fieldwork map: http://is.gd/fieldworkmap.
A picture is taken of the surrounding environment by one person. It records a place, the time, the GPS, the weather, and a feeling. It also documents an action, the moment the person in the photograph created a video. This video records a place, the time, the GPS, the weather, and a feeling, too.
In this one picture, two separate perspectives are layered and one shared experience is presented. A place, the time, the GPS, the weather, and a feeling, all documented then in different ways and presented now in varying formats.
Explore more locations and objects on the Fieldwork map: http://is.gd/fieldworkmap.
Video stills take light and movement out of context and render motionless the very subject recorded. They freeze a moment and mark it in time and allow us to pause and reflect.
Explore more locations and objects on the Fieldwork map: http://is.gd/fieldworkmap.
Sparkling sunlight reflecting on the edge of the sea as it laps against rocks and seaweed in Höfn, Iceland...The morning of the last day of our trip, we walked to the water and spent some time just listening and watching. Once again, time slipped away.
Read more about Höfn on its location blog here.
Explore more locations and objects on the Fieldwork map: http://is.gd/fieldworkmap.
Capturing the moment of capturing a moment… a moment with a landscape along the way, the moment of finding something, the moment of taking a closer look, the moment of pausing to take it all in. The Fieldwork Map a layered and complex.
Explore more locations and objects on the Fieldwork map: http://is.gd/fieldworkmap.
A slip of paper tells a story. A receipt marks a moment in time, a transaction between two people, a pleasant conversation. There is a date, a time, a place, an action, a thing, a name. We filled our car with petrol, we bought snacks and water, we got coffee and chocolate, we stretched our legs, we asked for directions, we ate a meal, we spent the night. It reminds us of something that happened. When lined-up chronologically and gently clipped to a string stretched across a wall, the slips form a pattern and they compose a story like sentences in a book.
Cheap Jeep, Reykjávik, Volkswagon Polo, April 18, 2014, 10:00
N1 Skaftárskála, Kirkjubæjarklaustur, petrol, two coffees, Páska egg, April 19, 2014
Humarhöfnin, Höfn, langoustine and lamb dinners, a bottle of wine, April 20, 2014, 22:03
N1 Fossnesti, strawberry smoothie, pomegranate-blueberry juice, petrol, April 21, 2014, 18:00
"We shall not cease from exploration and the end of all our exploring will be to arrive where we started and know the place for the first time.”
- TS Eliot
Explore more locations and objects on the Fieldwork map: http://is.gd/fieldworkmap.
Marianne Dages, artist, book maker, and printer, lives in Philadelphia, PA and spent a month in Iceland at an artist residency last year. It was a transformative experience for her and left a lasting mark. When she explored the Fieldwork Map, in particular, Jökulsárlón, she couldn't help but think of that time and remember...
Ostraca
“the feeling of something forgotten. a language understood in sleep”
I wrote this in my sketchbook the day after I’d arrived in Iceland, where I’d come to spend one month alone and make art in the Northern town of Siglufjordur. Everyday in the afternoon I would take a two hour walk on the paths that crisscrossed the mountain above the town. And during those walks I took photographs and collected objects I found.
Looking at the Fieldwork map, I was struck by how many similar experiences I shared with Amy and John’s travels and the bittersweet feeling those images gave me. I too filled my pockets with frayed cords and fishing hooks on long solitary walks. My shelves are lined with smooth banded stones and salt-bleached bone.
What compelled us as artists to seek out this land? The sublime and majestic imagery of Iceland, its achingly blue glaciers and quicksilver oceanic skies, is enough to give you vertigo, to feel your toes grip the sharp edge of the world.
Yet what did we find and what did we keep? The humblest of traces. the rune-like lines of twigs on snow, animal tracks, tiny bits of plastic and thread, every shape and color a trail back to the crisp visual memory of a beloved place and time. Something we’d forgotten, something we could now read again.
The Icelanders believed that the dead could be raised from a bone, just one vertebrae or fingertip. I found a delicate arched sheep’s rib on a black volcanic beach. I painted half of it white. I made thirty white clay bones, one for each day I spent in Iceland.
We thank you, Marianne.
Explore more locations and objects on the Fieldwork map: http://is.gd/fieldworkmap.
Sandfell Öræfi and a very old, very beautiful tree.
Explore more locations and objects on the Fieldwork map: http://is.gd/fieldworkmap.
Objects found on a black sand beach, partially buried in the dirt, mixed in amongst many others, resting on the grass under a tree…
Explore more locations and objects on the Fieldwork map: http://is.gd/fieldworkmap.
Pairings. A location and its found object. A found object and its location. An old truck and four tiny pieces of broken glass. A memory.
Explore more locations and objects on the Fieldwork map: http://is.gd/fieldworkmap.
Current Condition
"...maps are subjective, and like any form of art and design they have stories to tell and reveal a lot about the times in which they were produced. The most successful maps are selective, leaving in information that is important to the agenda of the cartographer and excluding the chaos of other details that are irrelevant to the narrative."
from Smarthistory, "What Maps Tell Us" by By Dr. Christina Connett
Explore more locations and objects on the Fieldwork map: http://is.gd/fieldworkmap.
"I especially enjoyed the evolution of Fieldwork…I keep reaching for my [own] camera…"
Lisa Norton, is an avid world traveler and art appreciator and she has been exploring the Fieldwork Map from the comfort of her home in Shoreline, Washington. As someone who loves foreign travel, visiting places like Russia, Central America and France, she has also been to Iceland and enjoyed the opportunity to revisit a place she has experienced before, but in a completely different way.
"The scope and feel of southern Iceland has been beautifully and thoughtfully captured in Fieldwork. It is a full sensory experience of images, video, text, and sound. Some of the images are grand, others dreamy, some almost scientific as bits of rock, string, bone, and other found objects are presented in high detail close-ups. They all invite the observer in to fashion their own story of the relationships and reasoning behind both discovering and presenting them.
I especially enjoyed the evolution of Fieldwork over the month that I have been experiencing it and I look forward to that continuing. As new places are added they fuel my imagination and I keep reaching for my camera or to mark places on my own map of Iceland. I particularly need to see the abandoned farm and swamp in person and watch the play of light change over that landscape. I want to explore the old double house croft and chat with the stone trolls. Who knows what other treasures I may discover for myself on the way.
As a whole Fieldwork tells a tale of expansive, mutable, and sometimes harsh, beauty through text that enhances the experience without presupposing the viewer's response to it."
Lisa Norton, Associate Director of Technology Licensing at the University of Washington Center for Commercialization, avid world-traveler
Explore more locations and objects on the Fieldwork map: http://is.gd/fieldworkmap.
We identified the location of Fieldwork's profile image… you can read about it here and see it on the Map.
Explore more locations and objects on the Fieldwork map: http://is.gd/fieldworkmap.