https://soundcloud.com/nathan-sharratt/billie-jean-monopitch-c-sharp-everything
KIROKAZE
i don't do bad sauce passes
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pixel skylines
Mike Driver
One Nice Bug Per Day

Kiana Khansmith

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taylor price

Origami Around
Game of Thrones Daily

Janaina Medeiros
will byers stan first human second

blake kathryn

titsay

★
we're not kids anymore.
Cosimo Galluzzi
wallacepolsom
tumblr dot com
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@nathansharratt
https://soundcloud.com/nathan-sharratt/billie-jean-monopitch-c-sharp-everything
Exhibition Statement for Buy Nathan Sharratt [edit: this is art]
Nathan Sharratt
American, born 1978
Buy Nathan Sharratt: A Requirement of the MAsters of Fine Arts Degree of Georgia State University, March 21-25, 2016,
MFA Thesis Exhibition, Continuous Performance, Livestream, Gift Shop; Reception March 24, 5-8pm, GSU Galleries, Alanta
#BUYNATHANSHARRATT: In the tradition of the glorious neoliberal patriarchy, invisible∞hand artist Nathan Sharratt presents his first comprehensive career retrospective in a major American Institution. Sharratt is an important voice in the superpositional dialectic of in-group/out-group family circus of value. Since the death of Institutional Critique in the early 1990s, Sharratt has been practicing Institutional Embrace™, a form of post-contemporary art that celebrates the role of the Artist As Institution™. Through the Spectacle of Transactive Banality™, Sharratt’s practice becomes a scaffold around which platforms of control and desire may grow organically into a Necker Cube of Pleasure©. Through his personal life as a person, Sharratt knowingly participates in the Repressive Desublimation of Culture™, while his artistic practice invests in glue and shiny objects to put it back together.
#MAKEAMERICANATEAGAIN
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Buy Nathan Sharratt: A Requirement of the Masters of Fine Arts Degree of Georgia State University is an institutional retrospective of world-renowned artist Nathan Sharratt. It contains four main viewing spaces: The Gallery, Null Object; The Curated Retail Experience, Obiekt; The Project Space, N’Objet; and The Virtual Space, L’Intermet.
On view in the Gallery is Null Object, curated by Arthur Fantastic .Arthur Fantastic is the pseudonym of an equally world-famous curator, critical theorist, and pop star. Fantastic has selected a crucial set of works from Sharratt’s glorious career to highlight. Docent tours are scheduled throughout the exhibition run; see the posted schedule for times and information. We are honored to have both of their presences grace our stage.
The Project Space, N’Objet, will contain terrific artist Nathan Sharratt as he performs daily for your spectatorship. Sharratt’s endurance performance will excavate the liminal space between the artist as a unique individual, and the artist as a branded commodity imbued with the Artist’s essence. Descriptions of value and authenticity will be ascribed, asserted, conflated, and ultimately absolved while agency remains uncertain. The harsh truths of life as a Culture Object are exposed while Sharratt painstakingly assembles and modifies objects for Obiekt. Can’t make it to the gallery in person? No problem, thanks to our Digital Integration Team, you can tune in to the live video feed of this exciting opportunity to see the Artist at work: http://www.youtube.com/c/NathanSharratt/live. Follow the Artist on social media for more information. https://www.instagram.com/alienate/, https://twitter.com/alienate, https://www.facebook.com/NathanSharrattArt, http://nathansharratt.tumblr.com/.
Obiekt is our Curated Retail Experience. After immersing yourself in the infinite weight of Sharratt’s profligate artistic presence, purchase a commemorative souvenir and Buy Nathan Sharratt. All proceeds benefit the Institution of This PArticular Artist.
But really I just want to go home and chill on the couch
Losing Friends and Alienating People--Social Media As Artistic Medium
By Arthur Fantastic, curator of Null Object: An Institutional Retrospective of Visionary Artist Nathan Sharratt. Sponsored Content Social media is nothing new, but the adoption of its use by artists as a viable artistic material has been slow. The media’s inherent ambiguities and apparent lack of art-historical reference points create a slippery surface texture that makes it difficult for the viewer to hold onto long enough to even recognize as art, let alone long enough to derive substantive meaning. However, all is not lost: there is light at both ends of the tunnel. In this pluralistic contemporary art world, where art can be anything an artist announces as such--from everyday objects, to weather, to spilled paint--how is the art-viewing public to know which balloon puppy is made by a clown for some celebration, and which is an artistic masterpiece? Which lightning strike is an expression of the sublime, and which just drops a tree on your house? One way has been the use of the sacred space, namely galleries and museums. The balloon puppy that is in a museum is Art, the one that is at a child’s birthday party is not. Paint splattered on a cloth in a museum is Art, paint splattered on your garage floor is not. Probably. The lines of distinction between Art and Not-Art become blurrier the more the walls of that sacred space are challenged. Many artists and movements (and institutions) have embraced institutional critique in one form or another. In recent history, Internet artists are one such group. They created artwork on and through the Internet, ostensibly removing their art from the art institutions’ sacred physical walls and opening the conversation up to a more democratic audience who could access it anywhere there was a computer with Internet access (Internet egalitarianism being a fantasy notwithstanding). Still, the work is typically confined to particular art websites or app projects, themselves a type of hierarchical segregation. Following the Internet artists are the Post-Internet artists, who create work about the Internet, online and offline, and also use the Internet and social media as a promotional tool. Some of these artists--after being discovered on Instagram--are allowed to insert their artistic practice into the traditional art conversation by exhibiting it in galleries and museums. Many so-called post-Internet artists reject the moniker or abandon their Internet practice once their traditional career has been kickstarted. It’s cool to be found as an underground artist on the Internet, but not very profitable for an artist to remain there (Even a social-media dabbling establishment artist like Richard Prince still prints out his Instagram screenshots and sells them as traditional art objects). Fuzzier still is the artist that uses the Internet subset of social media as a raw material. They reject the Relational Separation between Life-As-Art and Life-As-Life. These artists consider their personal accounts to be an extension of their body, and may not separate their artwork posts from their vacation and sandwich-photo posts. The illusion of the glorious and enviable lives we share on social media is no real thing, but it is no fallacy, either. There is always an element of authenticity inherent in any display of self, performed or otherwise (The research of sociologist Erving Goffman can probably speak to that). So when an artist fluidly switches between Artist-As-Person-Using-Social-Media and Artist-As-Artist-Making-Art, without announcing that art is now being made, the effects can be jarring on the artist’s followers who didn’t choose to walk into a sacred art space by logging onto Facebook today. What, then, alerts the viewer that they are now looking at art? What are the inherent cues to trigger the viewer’s art experience? I think we can safely assume that walking into a museum is a conscious choice, and someone who does so recognizes the museum’s monotask of presenting art for public consumption--a person doesn’t accidentally walk into a museum, pay the entrance fee and then bump into some art without informed consent. The viewer is primed for the art experience. They have (hopefully) left their daily worries behind for a few hours to participate in culture. Social media offers few such inherent cues (and it could be argued that social media itself is a primary source of daily worry. #FOMO). Perhaps the artist chooses to attach a specific hashtag for cataloging purposes, maybe something like #thisisart? This could be one such cue. But if the post isn’t obviously art related, what signals to the viewer that they should now consider this social-media interaction as an art experience? One in which there will be no other version because what they are seeing right now, on their screen, wherever they currently are, is the intended primary experience? Even assuming the viewer is able to at least recognize that the post they are viewing is within the art realm, what’s to differentiate this Post-As-Art from a Post-Promoting-Art? Without a preparation buffer, the viewer will likely be annoyed and even angry at the artist for clogging their feed with apparent nonsense. This, in turn, may lead the viewer to unfriend or unfollow the artist to achieve release from the discomfort and anxiety of that ambiguity. Can the viewer trust the Artist-As-Person any more? How do they know which is the authentic voice of the real-life person whose job is art versus the possibly-imagined and likely-fictional voice of the Artist with a capital A? Is there a difference? Are they just being spammy assholes? Or, is the artist simply making transparent the fictions of our contemporary reality in a way that we’re not yet accustomed to processing as such? Many traditional artistic mediums achieve meaning, in large part, through their association with the past. Their stickiness is owed to the huge catalog of human accomplishment known as Art History. This is what gives artists who spill paint on cloth--with intention--artistic merit (even some without intention). They know they have that foundation to rely upon, so that they can build on the problems that previous artists have had--and that time has vetted as meritorious--to give at least partial validity to their own artistic explorations. There is an assumption of at least a cursory awareness of art history that the artist exploits to allow the viewer to skip a few steps on their journey to seek meaning in an art experience. A shorthand, if you will, to the sublime. Newest-media artists don’t yet have that pantheon to secure them. Social media has been around for over a decade now, yet few artists have successfully used it as a material. And why is that? If anything can be used for art, why not this? Part of the answer is related to friction: Art history is a vast and complex repository of the human soul, but it is also a behemoth that is is bound by its own inertia. This can be a benefit in that it is reliable and easily located, but it doesn’t move very quickly. Newest-media art isn’t subject to the same heavy mass of art-theoretical physics. It can move quickly to respond to an ever-more-rapidly changing cultural and social landscape. Everyone’s 15 Minutes of Fame still exists, but now it's broken down into millisecond increments, spread out over a lifetime of micro-blogging and status updating. And without that friction to ground it, it becomes slippery and hard to hold on to. Meaning is lost, or never found, as it becomes folded into the daily routine of mediated social interaction. The material is so new, so unfamiliar as an art material, and so inherently ephemeral, to succeed an aspiring social-media artist must respect the Law of Conservation of Art Energy: an equal amount of resources must be expended online as would be expended offline to achieve an equivalent net gain in career advancement. Spending five minutes making a single artwork post on social media gets you about as far as throwing a painting you made out your studio door. It’s possible some renowned art-world mover and shaker could walk (or scroll) by your artwork, fall in love with it and decide to use their vast resources to make all your art dreams come true, but it’s much more likely that single work will get caught up in the current of the stream of life, swept away in the perpetual motion machine of double-taps and thumb-ups and moving-ons. The lack of tangible documentation is also a challenge to historical normativity. Internet artists could theoretically copy the HTML files for their artwork website and send them to a museum for preservation and presentation. The viewing context of the original experience might change somewhat with the new location, but we’re apparently okay with that compromise based on how frequently we move art around from wall to wall. A self-contained website viewed on a screen online versus one viewed on a screen in a museum doesn’t irreparably damage the viewer experience. But it’s not so simple for social-media artists. How do you archive a Facebook post? How do you re-present the unique viewing experience that an individual sees when the art shows up in their feed, snugged in among other algorithmically-chosen posts, news articles, and advertisements? Most importantly though, I think, is the lack of a successful path to finite economic ownership. Twitter and its shareholders may benefit economically from art on its platform, but how do the auction houses? Robert Rauschenberg's famous narrative about how he created the Combine--as I first heard it--went something like this: Rauschenberg was a poor artist in New York City. He didn’t have money to buy art supplies. This presented a problem for the artist. So, he walked around his neighborhood and saw all the perfectly good stuff people were throwing away. He collected said stuff, processed it through his artistic lens (whatever that means), assembled that stuff into compositions, and the rest is art history. Rauschenberg responded to his current environment, the environment he was embedded within and intimately linked to, by excavating its inherent characteristics and manipulating those characteristics as his artistic material. Today’s post-post-Internet artist, such as Nathan Sharratt, is doing the same thing, except their local environments are increasingly virtual. They absorb into themselves the inherent qualities of online social discourse and reflect it back upon itself, through itself, as itself. To separate the message from the medium would destroy the message. Viewers at the time were likely just as angered, frustrated, and confused with Rauschenberg’s new junk paintings as they are with today’s social media artists. Probably. I’m writing this on a plane to Atlanta and I’m not paying for in-flight Internet to fact check. That shit’s expensive. Thanks Obama. I’ll let the editors deal with it; I have an institutional retrospective of a famous artist to curate. #buynathansharratt #makeamericanateagain
[edit: the author of this article is actually Nathan Sharratt. It is presented as a performative text based on real life but through the voice of a fictional character]
The Nameless Paint Set: An Alternative Way of Understanding Color
Nathan Sharratt, May 2015
May 2015 resident Nathan Sharratt talks about his interest in technology and digital media and a project he began at VSC where he is auto-tuning karaoke performances.
For more information on Nathan, visit his website here.
I chatted with the rad Kate Lien while at Vermont Studio Center about a couple things.
Untitled from Nathan Sharratt on Vimeo.
Which Way To The Front? from Nathan Sharratt on Vimeo.
An #artwar performance. After executing my artwork I painted my face with its ashes and considered the locus of my attention: look at the camera, look at my image, or avoid both?
#artwar Refugee Execution No. 2: "Bad Girls Honey" by Nathan Sharratt (live recording) from Nathan Sharratt on Vimeo.
Soon
Execution of #artwar #arthostage No. 1: "I from Nathan Sharratt on Vimeo.
This artwork was taken hostage and held for ransom on my social media accounts (@alienate). The ransom was not met by the deadline so the artwork was executed. More hostages will be taken. This is only the beginning. #artwar
#artwar Refugee Execution No. 1: "I < 3 Polke" by Nathan Sharratt (Full Video) from Nathan Sharratt on Vimeo.
I have taken my art objects hostage. I demand ransom of their supposed retail value or they will face execution. The ability for the artist to survive and feed themselves lies almost exclusively in the hands of the collector. I call upon them now to assert their belief in the value of art objects as embodiments of the souls of artists and rescue these Art Refugees, or through inaction to allow them to perish, and consequently a piece of the artist dies with it. Through the transitive property of equality, the artist is only as valuable as their art work.
The length of time available to rescue an art refugee is relative to its asserted retail value.
To directly rescue an art object, determine which are currently being held for ransom by following the artist on social media (Instagram @alienate, Twitter @alienate, facebook.com/NathanSharrattArt), then donate the requisite financial amount to PayPal account [email protected]. In the case of multiple donations for the same Refugee, the earliest time stamp will be accepted, all others will be refunded.
To negotiate the refugee’s release via other means, contact the Warden via above social media channels.
Inflatable (Ego) - Installation / De-Installation / Residue from Nathan Sharratt on Vimeo.
Performance at Zuckerman Museum of Art for Rachel's Killin' It, curated by Dashboard. Documentation video showing time-lapse of the week-long attempt to install a 100' x 10' x 20' (20,000 cu. ft.) inflatable sculpture of the phrase, "WE GOT MORE" on the lawn of the ZMA. Numerous factors interfered with the installation process, from heatstroke caused by excessive temperatures (100deg. F) to high winds that caused material failure, to budget and time constraints. The inflatable was designed to fail over time and is made from construction-grade plastic sheeting, an inferior material for such a large inflatable. Proper inflatable design and construction techniques (such as compartmentalizing, reinforced seaming and material choice) were ignored to increase construction difficulty to the point of near (but not total) impossibility. Despite the overwhelming odds numerous people volunteered to assist with the construction and installation, including the curators. Ultimately, the object was unable to be fully realized in time for the exhibition opening. The day before the opening the letters WE were repostioned and inflated for several hours as a gesture of solidarity and we-ness before all plastic letters were packed up and moved offsite, leaving only a few stakes and strands of yellow rope on the ground as residue, completing the work. Ultimately, Inflatable (Ego) is a monument to monumental effort, cooperation, empathy and endurance that refocuses the lenses of success and failure to question the validity of the hero object.
#nicehashtag during install day. It does positive/neutral/negative sentiment analysis of @Twitter in realtime. Commissioned by @HLN for the launch of @dailysharehln #Art #contemporaryart #contemporarysculpture #sculpture #techart #hue #lightart (at CNN World Headquarters)
Distillation Of Complex Ideas Into Manageable Chunks, 1792 Model. #3dprinting #cmyk #guillotine #walthall #art #contemporaryart #sculpture (at Gallery 72)
#walthall exhibition part 2. Sentinels on watch. #art #contemporaryart #atlarts #3dprinting #guillotine #cmyk #sculpture (at Gallery 72)
#lenticular second state. "From Don Till Doff"#art #atlarts #contemporaryart #walthall (at Gallery 72)
On view now at Gallery 72 #atlanta #atlarts #lenticular #art #contemporaryart #text #cmyk #walthall (at Gallery 72)
Video Jul 30, 3 54 39 PM.mov from Nathan Sharratt on Vimeo.