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WATCH: Dwayne Johnson opens up about new film co-produced with his ex-wife

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Transcript for Dwayne Johnson opens up about new film co-produced with his ex-wife

I’m can’t Woodward and in park city Utah the Sundance Film Festival where I have the unbelievable privilege to sit down with Dwayne Johnson and talk about. His new movie at his production company has premiering here is Sunday and it’s called fighting with my family. It’s the story of an unlikely hero here a girl who rises up with her. Strange kind of fabulous family and becomes a star in the WW EE. This movie. Spectacular there is so home much to be said about a sleepless night in London area. London good song right there it was it was 2000 flow should investors 6. O’clock. Terms of the TV and assaults documentary local channel. And immediately Natalie picked a fight with but it was really compelling. Identified with this. It was recently us. Who loved what they it is who. Put on these wrestling shows they’re small bars. Making money just upped its person must were wise. To make money so often picked up. But. But it was such a compelling story and so. Young girl. Actually from or which. Peppers. Two hopefully. To the WW Lee. The documentary she obviously he had not made. Them ironically suitors. When I went back in 2000. Thirteen she introduced yourself to that. We just watched very anxious so what this. That’s that I loved it and I can’t believe your family come from a favorite wrestlers ax to. That’s you know what Pulitzer call regional he was in the arena. The documentary such. This is there. Here’s it’s and she was blown away and let’s look you know it it’s don’t know what it is but I would look here’s a story Wednesday. But we do it just what you might think. C. Equity partners we call our producer artist Aaron. Arab we can make something that’s real. So feeling that her story would resonate with more than just the wrestling crowd. What did you two think when he first brought this year attention. We you know she for so she’s been in the business itself the restaurant that she said she. You know TrailBlazer and she should a huge impact on the female audience in the general so. She then get the color of the story and then also so much of our lives. Relate to you what’s happening in her life and her family’s life he just seemed like actually an incredible opportunity. But what whether beans from watching rocky we always loved and actually in the DNA some boxes or not it is you know and the story of him so much in the pocket as Brewster company so. That story room just resonates just in general we’ve experienced it resonates with the world has the story that we. No matter what skills needed something that war which resonate with audiences globally so that kind of story how excited he was. In seen her path and trajectory it made sense produced no matter what. We root. And you know I mean that. Note saying no matter what it was very challenging. Rusty get them which to view past. Every studio pass that at least to use the we love initiative. Partners. But for them they just the contents and it was offers small British comedy about British Bentley. Wrestling written equal to pro wrestling. Outside the system. By the partners. Real art and here’s what’s ironic options story burst 22. Yet. Wrestle mania. 2050. And at that time we’ve just gotten a movie green lettuce and now we’re moving forward. With this movie about her life that you one hour X axis it he go find season and ribeiro Europe looked surprised there so we got her butter over us haircuts reasons for she sat out US government movie. About. Just crying it’s so appreciative. Put Hiram Hiram and there’s news. And she’s leading us or have almost terrorists wise. And wrestling is something that’s that will tomorrow on Monday that draw a line. You’re gonna make your debut she goes out an experience that can become world champ. She almost painted like books had to sit down. Currently she and she could not believe what she heard that took its relations all of them saying that it we are sub. Existing. Her hear that from UN. It is it’s in the movie. I think one of my favorite. Themes throughout the movie is. Not conforming. And that’s been really true for you in your career as well. Being really fleeing Iraq. Will which was very important you know for a long time I think a lot of us but can’t speak for but he there’s good about. Human beings are out there who struggle with this beautiful Friedman being themselves and what it means for so for me I struggle of that. For very long time and especially when I first got Hollywood when I first got the Hollywood there wasn’t a blueprint the back follows that wasn’t the half black caps Samoan wrestler. Who wants to major Hollywood that it. Raised eyebrow oh maybe fifty letting fans. That with that so it was told that. Well this is how you that this is how you have to talk to you sure about issues like a lot of don’t don’t don’t don’t and his view these. Down that road or experience. Do you buy into it and you come for was until it. This. Okay. But that also. Who I have been working. Q creates risks appropriately. And rocky just like your. Refs were true and things were great lot which struggled some details. Six. Duke. And you were crucial in. Some kind of finding the back there was there was that committed to three conversation with. It’s time to let Hollywood make room for. So when the studio’s past comments. And now here you are today at Sundance. What a brilliant way for you to showcase this movie. Must be a bucket western country. It was over it was true computer that I didn’t know was on the bucket lists are really what an honors. They make different he says we didn’t. They discuss his opportunity. This is you know we know or. It doesn’t do anything that. He is hard any. It’s days and so we it was folks and we just hope no audiences. We actually waved me the initial feeling we got to make this movie and so. To find it ridiculous Indians win it wasn’t even in her dreams and we’re just trying to meet the it could test is. There’s so passionate about a project found that is so different. Then things that you have done before it’s not action packed movie. Was also a little bit scary quote the great thing that is at the court order. Are. These actions movies it’s always turns down very you know simple narrative we can always put repackaging around that core story but. We respond initially our justice quirk news that we believe that. Make audiences. Are imploding. Are solely those kinds fanatics and so whatever steel and built around it. That can fluctuate but this still had. World. And scary you know are large hail. Skier yet there. We’re going to there. Where there are initiating towards the third act just that. Ambulances and logistics. Due to. Actually served as we were. We have enough back. To. Fox. This story so into the first chairs. And which can. Never showed it. I left but it. So I love the title I am taking does that that Earl Spence. In this and he lives. From my perspective it. I think in the outcasts. Asks viewers in the asks viewers to take every. I. And Italy by activists functional dysfunction. Youthful. An air. I don’t response you don’t. It. He’s just. Nature of the business but as I hate. I may see you know there’s so many similarities in the handling. I think regionally apparently isn’t murder but officials Bentley even as we are bailing out just. You go through some crazy things but the love and the dream and the desire for more cancer. So these that this folks now you see in the movie. It’s just taken from lives. It is completely taken from our lives yes yet. You know. And I know people talk about this all the time. But. How have you turned a marriage that didn’t quite work out this absolutely beautiful professional partners. Rio de. It was reported that rent apprenticeship. Friendship down in the expansion. Want what’s best for acting. We’re so inclusive and that’s something so proud. It’s just a big family that’s living a big. Friends first we’re friends now it’s your version. Continuing to do business that makes sense. For us and then ultimately it’s it was week. Let’s go to work do. Yeah. I think I can ever bring up old look. I don’t trash. And. We are so different today and who we hurt and years ago twelve years ago that. It’s packed. Doesn’t exist emitter doesn’t trust are gonna draft. I mean really exists we’re so president today and I knew those people for their kids. They were here. I. I. I say we have to talk about the suit the suspect as strong. He now found. When you have a daughter that is entering the world that Parietti. Do you think. Not only is it different now because of women like he also. What advice to get to your daughter that you think that winds up it really involved the female wrestler in two you’d think. Two it’s not switch keep the conversation it through who is this performer so peach. Was one of the first professional Russert where all threaten our daughter was like wow. Don’t have to look like it’s like anything Egypt such passion for the sport when she’s asked performance and she is Simone in in this. Really ironic. Beautiful way. You know I’ll go back just a little bit is that you know I had some when I was twenty. And a cash. My daughter. Who will soon experience you know that you’re an out of I don’t. Willow who when getting hats and I was fortunate to be her father and. 29 is still trying to close. That. I was in WW the grew up in many ways with some of them grew up together. And we have this really unique or special bonds says as only dads and daughters can. Adjustment to you answer mode. So growing up with Simone in many ways it. It it forced us to. Do you weather challenges that forces to get better forced me to get better Russert. And so now what we’re doing it’s it’s really beautiful relationship that she’s going into business that. I have actually over the years we have graduated over the years it’s really special time because I can in a wonderful way its policy close. Now are having these. Discussions at high. Never thought I would ever have my daughter about. Finishing holes and crowd psychology. And how she’s hitting the roads are taking this duplex and how she’s got a protector her neck. And I never thought it would have these characters and we could be more proud Everett. It has been this incredible. Juxtaposition. First because this creep he will wrestling male dominated. The pilots flipped. See us. Q Inge and that line of some answers first. Days. National sort of some rather street. And all of them all the groups. Oh. Girls it to true underdog story that will resonate with everybody and it will be in theaters on February 14. I’m can and we were the new watching ABC news.

This transcript has been automatically generated and may not be 100% accurate.

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nothingman · 6 years

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If you search for the millennial makeup brand Glossier on YouTube, one of the first results likely to appear is from Olivia Jade, a fashion and beauty vlogger with over one million subscribers. Her 2017 video "First Impression & Review of Glossier Makeup" has garnered over 630,000 views. In the video's description, Jade writes "this video is not sponsored!" She fails to mention, though, that a list of products featured in the video include a series of affiliate links produced by RewardStyle, an agency that creates affiliate marketing campaigns for influencers like Jade. If a viewer clicks on a RewardStyle link and buys a product like Glossier's Hydrating Moisturizer or Boy Brow Gel, Jade likely gets a cut of the sale.

Jade is far from the only influencer to neglect to disclose affiliate marketing relationships according to Federal Trade Commission guidelines. New research released from Princeton University Monday indicates that the vast majority of similar marketing set-ups go undisclosed by influencers on platforms like YouTube and Pinterest.

In a paper to be presented at the 2018 IEEE Workshop on Technology and Consumer Protection in May, Princeton's Arunesh Mathur, Arvind Narayanan, and Marshini Chetty analyzed a representative sample of over 500,000 YouTube videos and over 2.1 million unique Pinterest pins collected from August to September 2017. Of those, 3,472 videos and 18,237 pins had affiliate links. And of that subset, researchers found that only 10 percent of YouTube videos and seven percent of Pinterest pins contained any written disclosure.

The majority of YouTube and Pinterest influencers are likely making a profit off their product reviews—even without direct corporate sponsorship—without disclosing that fact to users.

The vast majority of disclosures that the Princeton researchers did find don't even abide by FTC guidelines. In 2013, the agency began requiring that affiliate links embedded within product reviews include a disclosure. In the current version of the guidelines, bloggers are required to include more than just the phrase “affiliate link,” because readers and viewers may not know what the term means. The FTC instead recommends that bloggers use a short explanatory phrase, like “I make a commission through purchases made through this link.”

Of the few disclosures the researchers found, most merely included phrases like "affiliate links may be present above." Disclosures that contained an actual explanation of what an affiliate link is only accounted for a tiny fraction of the YouTube videos and Pinterest pins the researchers looked at. That means the majority of YouTube and Pinterest influencers are likely making a profit off their product reviews—even without direct corporate sponsorship—without disclosing that fact to users. (Like most online publications, WIRED also participates in affiliate marketing).

"Disclosures are important so users can give—in their minds—appropriate weightage to content creators’ endorsements," says Arunesh Mathur, a computer science graduate student at Princeton and the lead author of the paper. He says that his study's findings likely don't represent all undisclosed affiliate marketing campaigns on Pinterest and YouTube, because the researchers didn't take into consideration other forms that don't include links, like coupon codes.

The study also only included descriptions written in English, and couldn't account for other kinds of undisclosed marketing relationships, like when an influencer is given a product for free, or paid a fee behind the scenes to promote it. In fairness, the research also doesn't take into account instances in which a vlogger discloses the affiliate marketing campaign in the video itself, or within the image on Pinterest. Mathur, though, doesn't believe most disclosures take that form. "We're fairly confident that only a tiny fraction of content creators disclose affiliate links at places other than the description," he says.

The Princeton research underscores how murky the world of product reviews on YouTube and Pinterest really is, where it's often impossible to definitively know how an influencer profits from a post. And since affiliate links tend to be used by more popular accounts, recommendations and search engines are more likely to surface posts that have them.

To be clear, there's nothing inherently wrong with affiliate marketing, and the inclusion of an affiliate link doesn't automatically mean that a review is biased. But if consumers don't know that a blogger profits when they make a purchase, there's no chance to gauge whether that incentive may have colored an influencer's perspective. Affiliate marketing is also only one facet of the largely unregulated online review space. Many bloggers fail to tell their readers when everything from lip gloss to entire vacations have been paid for.

In August of last year, the FTC sent over 90 letters to celebrities and influencers reminding them that they should clearly disclose brand relationships. But the agency itself sometimes can't even distinguish between an advertisement and a normal post—underscoring how muddled the two have become. The FTC did not immediately return a request for comment.

'Web browsers can arguably do more in alerting users about sponsored content.'

Arunesh Mathur, Princeton University

Young influencers suddenly flush with social media followers may also not be aware of the FTC's guidelines or how exactly they are required to disclose partner relationships. "I think a lot of bloggers are still navigating the ins and outs of disclosures. For example, maybe they're unsure if there's a different way to disclose a paid promotion compared to a gifted product or service," says Austen Tosone, a fashion blogger with an Instagram and YouTube presence. "I definitely think that my readers want to know whether or not something I post is sponsored. Even if it's a brand I use and love a lot, if I'm being paid to create content for them or was sent a product with the agreement that I'd review it on one of my social channels, I always still disclose that relationship."

Full-time influencers, whose followers can number in the millions, are also often represented by talent agencies who help broker deals between them and brands. The agency is partially responsible for ensuring that the blogger properly discloses posts paid for by corporations. "Each contract we have with our influencers requests that they disclose paid sponsorships on their posts and blog articles," a representative for the influencer agency WTS Connect said in an email.

Social platforms have also begun to fight back against undisclosed marketing by incorporating features that allow influencers to add prominent disclosures automatically. Instagram, for example, began testing a feature last year that adds a disclosure at the top of a post saying it's sponsored by a specific brand. YouTube also lets vloggers add an overlay to their videos that reads "Includes paid promotion." Facebook too introduced a feature in 2016 that allows influencers to label when a post is paid for by a specific business.

Participating in an affiliated marketing campaign doesn't necessarily mean an influencer's review is sponsored per se. They may have paid for the products themselves, but then merely receive a commission if someone else buys them too. "These [features] are tailored towards product placements and paid partnerships, and a content creator who engages in affiliate marketing strictly might be less inclined to embrace these disclosures," says Mathur.

The most practical solution may end up being browser-based. Mathur and his co-authors plan next to build an extension that can detect and highlight affiliate marketing campaigns automatically, so consumers can be aware immediately of any financial incentive in the review they're watching. "Web browsers can arguably do more in alerting users about sponsored content since many of the accompanying disclosures can be detected—where present—using machine learning and natural language processing techniques," says Mathur.

For now, make sure to scan the links below a blogger's video before taking their word about Glossier's latest.

Age of Influence

via Wired Top Stories

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nereidakirkwood-blog · 6 years

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joescanlan-blog · 7 years

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Fun’s Not Dumb: An Art World of Entertainment

For a while there, many lived under the delusion that comprehensive exhibitions about relevant cultural phenomena had the power to become paradigm-shifting events, not only for art but for the culture-at-large. Students of history will recall Harald Szeeman’s “ When Attitudes Become From” at Kunstalle Bern in 1996, or Thomas Lawson’s “A Fatal Attraction: Art and the Media” at The Renaissance Society in 1982, or even Elizabeth Sussman’s 1993 Whitney Biennial—exhibitions that officially acknowledged coming changes in the accepted form and content of art. Of course, such “ timely” exhibitions marked the end rather than the beginning of the trends they chronicled and painstakingly maintained the perception of art as a harbinger of things to come.

Art continues to enjoy the illusion of cultural authority, not because it is vital or intelligent but because it refuses to recognize its competition. In fact, Szeeman’s show postdates Marshall McLuhan’s Understanding Media by five years, Lawson’s the home video recorder by seven, and even Sussmans’s—diverse as it was by art-world standards—appears in hindsight to be a mere provincial reflection on the democratization of the Internet. “ Let’s Entertain: Life’s Guilty Pleasures,” a show organized by Philippe Vergne at the Walker Art Center, tries to embrace the notion of art as just another form of popular culture, without being critical or condescending. And while I doubt that it will be as paradigmatic as the iMac or the Star Wars trilogy—which is, by the way, the height of the bar these days—the exhibition is nonetheless an impressive, if problematic, arm’s-length look at one of the art world’s more uncomfortable taboos.

Art history abounds with aphorisms denigrating all forms of audience concession, from Andy Warhol’s “Cute rots the intellect” to Oscar Wilde’s “Art should not try to be popular, the public should make itself more artistic.” Disdain for popular appeal, however, often masks a jealous desire for the breadth of influence and depth of feeling that entertainment imparts on the general public. Indeed, in “Come Back to Pleasure,” the keynote essay in the exhibition catalogue, philosopher Richard Shusterman credits no less a snob than T.S. Eliot with the remark that the poet “ would like to be something of a popular entertainer…As things are, and as fundamentally they must always be, poetry is not a career, but a mug’s game.” Of course, in the mug’s game of entertainment, the audience either already knows the source or simply assumes the present mug has invented it. The free use of good material is a vital aspect of the entertainment industry, from song hooks and sitcom quips to computer animation and period drama. Familiarity breeds success, and the dizzying speed at which a phrase or gesture can be assimilated is the main reason such phenomena are not taken seriously. “Let’s Entertain” begs to differ—largely on the premise that pleasure and democracy have replaced difficulty and elitism as yardsticks of important art. In so doing, it suggests that power, culture, and class politics have entered into serious flux.

There is no better evidence of this Machiavellian shift than a 1980 appearance by Johnny Lydon on American Bandstand. Video tape of the performance is one of the earliest bits of evidence in “Let’s Entertain,” and the ethical question of whether Lydon has “evolved” or “sold out” haunts all those who follow. With the Sex Pistols gone in a burst of flames and wreckage, Lydon’s reincarnation as the frontman for Public Image Limited averred that anarchy was no longer an agent for social change. By appearing to give the public what it wanted, the slick, media-friendly PIL suggested that a darker, more insidious form of cynicism than punk might be, well, catchy lyrics and a danceable beat. Throughout the performance, Lyndon flaunts the fact that he is lip-syncing (then still an industry no-no), and at one point even sticks his microphone to a young woman’s lips just in time for her to mouth his next lyric. It’s a great, black, hopeless bit of humor that has the effect of setting you free.

This precious moment is a how-to video for viewing the rest of the show. Where art institutions have a long legacy of promoting art as a means of social betterment—regarding its viewers as passive subjects in need of inoculation against the baseness of more popular diversions—Lydon regards his shiny young fans as willing recipients of an infection. The idea of entertainment as a virus is well-exploited by popular music and film, but it was not until the late nineteen seventies that visual artists became knowingly and willingly contaminated, treating their minds and bodies like lengths of pipe through which so much behavioral information flows. And while “Let’s Entertain” accurately identifies the beginning of art’s liberation from forty years in the Modernist desert, much of the recent work in the show adds little to the instincts of Lydon’s generation.

Such is the case with Kyupi Kyupi, a current Japanese collaboration that makes music, videos, and performances that get spun off as CDs and books. Assuming the mantle of such nineteen-seventies art-school-assignments-turned-pop-culture-footnotes as Devo or Kraftwerk, Kyupi Kyupi takes the anxiety of influence one step further—by leaving out the anxiety part altogether, demonstrating a lack of interest in subverting anything except the expectation of art as subversion. Fishheads (1999-2000) is a short videotape in which three young men are dressed in primary-colored wetsuits with matching fishhead-shaped helmets. They do some primitive, martial choreography for a while before pursuing a leggy, Japanese version of Pam Grier. Or is that a Pam Grier version of a Japanese? Who cares? Decisions get made, things happen, the tape ends. That’s about it.

I like that approach to art-making and even admire its expendability. However, Kyupi Kyupi’s antics too often typify Vergne’s criteria for what it means to be entertaining, implying that all entertainment, by its very definition, is vacuous, derivative, and forgettable. This explains the “Life’s Guilty Pleasures” apology that is the tag line of the show, as if running home to watch The Simpsons was morally inferior to running out to see your local William Kentridge retrospective. Thus, my disappointment with “Let’s Entertain” is that it hypes a clichéd, obsequious notion of entertainment over subtler or nastier forms, a slant that not only limits the possibilities of the premise but also betrays a lack of confidence in the viewer’s ability to be comfortable with what they like. To my mind, Stan Douglas is more entertaining than Piotr Uklanski, but I doubt Douglas’s Monodramas—a series of short establishing shots lacking any subsequent action or dialogue—will get held up as an example of good entertainment to the same extent that Uklanski’s readymade installations of disco floors and mirrored balls are.

While it could be suggested that “Let’s Entertain” merely wants to knock art down a peg or two in the process of making it more competitive with the wider culture, I would counter that in its haste to be immediately relevant it obliterates the arcana that is art’s strength. Instant Gratification can be fun, but some things are ultimately more desirable when they’re at least unfamiliar, if not offensive. Indeed, that may be precisely the effect “Let’s Entertain” will have on the art world, but such discomfort is still rooted in an unwillingness to consider art as entertainment in the first place. If bearing the anxiety of whether or not we’re attracted to art is the foundation of the pleasure it gives us, then whatever anxiety “Let’s Entertain” induces only serves to entrench an old belief: that art is special and everything else is not, until proven otherwise (as art).

This class distinction is underscored by the fact that some of art’s most impressive entertainers are not part of the exhibition. Had Edward Ruscha or Allen Ruppersberg been included in the show—let alone Laurie Anderson, Talking Heads, or Sonic Youth—then most of the art in “ Let’s Entertain” would pale in comparison. Furthermore, while Dike Blair’s collected interviews with Karen Daroff (theme restaurant designer), Jonathan Ive (Apple Computers), J Mays (vw bug), Gordon Thompson III (Nike), and Jack Womack (pulp-fiction writer) in the catalogue demonstrate a prescient eye for the cultural powerbrokers of our time, their inclusion in the discussion ultimately serves to make art seem all the more puny and derivative. Which is fine, if art is willing to acknowledge the fact that it is puny and derivative, in which case we’d finally be free to enjoy whatever great or small insights our experience of it might give us.

Musician Kim Gordon once observed that, after Pop art, it is better to enter into popular culture than to go on making art that merely comments on it. She was right, but being right means having to be truly competitive in you cultural field of choice. This is neither an easy nor very promising task for contemporary artists, unless we approach art as just another form of popular culture. In such an environment, many of today’s artists no longer make “ challenging” work but work that commands an exclusive market niche, a brand of structural rigor and dry humor that reflects the consumption patterns of a small but loyal demographic. Does that make their work any less interesting? No. Does it shed light on their motivations and demonstrate that their works are not tainted by the admission of a little audience savvy? Certainly.

For example, in Fresh Acconci (1995), Mike Kelley and Paul McCarthy put their marketing pitch up front as the simultaneously transform it into art. In the original videotapes, Vito Acconci’s lugubrious threats and come-ons are a kind of last stand of the self, a schizophrenic whose livelihood depends on his ability to persuade us of his fears and desires. In Kelley and McCarthy’s remake, Acconci’s scripts have been slavishly adhered to, but their mood has been radically altered through the use of spokesmodels and exercise video extras who are by turns reclining languorously on a bearskin rug, tangling in a sudsy tub, or wrestling in a stucco rotunda. Whatever angst dripped from Acconci’s originals has been burned off by movie lights, replacing Acconci’s lone rendition of the self with no less sinister, interchangeable androids. Fresh Acconci’s “fuck you, here’s more of the same, on re-mastered” attitude is a blunt acknowledgement of the pre-packaged art historical legitimacy that can separate a knowing artist from the pack.

Thirty-three years ago, Robert Smithson was complaining about curators wanting to liven things up in museums, tending to make of them a kind of specialized entertainment venue. (Smithson, of course, preferred the institution’s inherent emptiness to the human impulse to “fill it up.” ) It apparently never occurred to Smithson that museums had always been in the business of specialized entertainment, nor did it occur to him that his concepts of emptiness and displacement could just as well be seen as sly inversions of industry standards, no more or less clever than Jerry Seinfeld’s television show about nothing or Gary Shandling’s partially buried career. Most importantly, entertainment itself might be a kind of profound emptiness. Indeed, the only thing emptier than an empty museum might be a museum full of entertainment. What’s interesting now about museums is the fact that it really doesn’t make much difference whether their “emptiness” is provided by Robert Smithson or Maurizio Cattelan—just so their ever-expanding spaces get filled. That’s neither the fault nor the revelation of “Let’s Entertain,” merely the condition it finds itself observing without the nerve to be skeptical of it.

No matter. I have only ever been interested in art because I found it entertaining, and while I can’t understand why someone would look at art for any other reason, I would also suggest that no one really does. I know that there are people who look at art because they believe its good for them, and that there are just as many whose livelihood is to propagate that belief, but doing something because it’s good for you still boils down to the desire to be entertained by your own behavior. If I have a predilection for Samuel Beckett or Agnes Martin, then it’s because I find their work entertaining—and, of course, beautiful. That doesn’t make me special, just a particular (and marginally profitable) consumer whose favorite products are seldom on the display. Were such artists presented as the unadorned Wasa crackers that they are, instead of birthday cakes with useful implements hidden inside, then their infrequent appearances might at least be accompanied by a less desperate, more contented mood, one that refrains from ascribing reasons and simply acknowledges our delight in their existence.

First Published in Art Issues 64 (Sept., 2000): 20-22.

Visit Joe Scanlan’s website to see more of his written works.

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nofomoartworld · 7 years

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Art F City: Remixing Intersectional Feminism At Pittsburgh’s Miller Gallery At Carnegie Mellon University

Skawennati, TimeTraveller™, 2008-2013, HD machinima video (Courtesy the artist and Miller Gallery at Carnegie Mellon)

HACKING / MODDING / REMIXING as Feminist Protest Miller Gallery at Carnegie Mellon 5000 Forbes Avenue Pittsburgh, PA On view until February 26, 2017

Even as feminism experiences a resurgence, there’s still a marked lack of representation of women of color and gender nonconforming individuals in both art and political activism. This disparity was recently debated on an international level with the criticism launched at the disproportionately white and cisgender Women’s March. A current show HACKING / MODDING / REMIXING As Feminist Protest at Pittsburgh’s Miller Gallery at Carnegie Mellon provides a direct rebuke of this continued inequality by emphasizing the power of intersectional feminism (feminism that embraces multiple, overlapping social identities beyond gender, including race, ethnicity, sexuality and class).

The exhibition leads by example by bringing together a group of twenty two artists who fracture and rearrange technology to create their own narratives within male-dominated fields like gaming, net developing and computing. Organized by artist and game developer Angela Washko, the show, in many ways, is an answer to the much-reported lack of women in tech industries (Washko cites a 2013 study in her introductory wall text, stating only 26% of the positions in computing jobs in the U.S. are held by women). But, with its smart and diverse curation, HACKING / MODDING / REMIXING As Feminist Protest goes further than exhibitions about feminism often go, taking on race and other identity issues. This makes the show not only politically relevant, but also necessary viewing during our current feminist revival.

The show, though, doesn’t get off to a good start. In a corner of the entrance, a small plastic table covered in Barbie memorabilia and assorted toys greets viewers like a children’s play area. A Nintendo system on the table features Rachel Simone Weil’s Hello Kitty Land, a hacked version of Super Mario Bros. that replaces Mario with Hello Kitty and other Sanrio characters. By switching masculine plumber Mario with saccharine Hello Kitty, Weil’s raises girlish femininity to the heroic roles typically reserved for men. At first, it’s adorable, but, after more consideration, it’s kind of dumb.

Installation view of Olia Lialina’s My Boyfriend Came Back From The War in Hacking / Modding / Remixing as Feminist Protest exhibition at the Miller Gallery at Carnegie Mellon University, 2017

Luckily, the rest of the show, which filled all three floors of the Miller Gallery, abandoned this cutesy feminist cliché for a more complex and expansive range of work. The show presents such a wide range of technology that it almost looks like a tech showroom. Some of these inclusions are pretty retro including an old desktop computer, displaying Olia Lialina’s early click-based poetry My Boyfriend Came Back From The War and Lynn Hershman Leeson’s Laserdisc Lorna, described here as the first interactive video art disk. While not overtly political (though it could be argued that, with the underrepresentation of women in tech, just working with technology as a woman artist is a feminist act), these works act as historical precedents to the more biting commentary by younger artists.

Beyond a loose genealogy of digital feminist interventions, Washko showcases a diversity of political and cultural concerns beyond just the views of white, cisgender women artists. While this should be the typical job of a curator, a show that refuses to resort to single identity-driven choices while embracing a cacophony of critiques feels fresh. These critiques range from the legacy of First Nations and Aboriginal histories in Skawennati’s feature length Second Life film TimeTraveller™ to police violence in Sondra Perry’s netherrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr 1.0.2, which combines Microsoft Windows’ blue screen of death with the blue shield of police-enforced silence on the wrongful deaths of black women. Other works deal with trans identity and gender fluidity including micha cárdenas’ Becoming Dragon, which documents the artist’s 365 hours living as a dragon in Second Life. This performance questions the year of “real life experience” transgender individuals must fulfill before qualifying for Gender Confirmation Surgery.

micha cárdenas, Becoming Dragon, 2008. digital prints, digital video (Courtesy the artists and Miller Gallery at Carnegie Mellon)

While many of these works are successful individually, some were even more engaging together. Iranian American artist Morehshin Allahyari’s net art Like Pearls and RAFiA Santana’s Black Power Project, which both use the over-the-top aesthetics of GIFs. Allahyari’s Like Pearls looks like a spam folder gone rogue. Overlaid with a grating electronic version of The Backstreet Boys’ “I Want It That Way,” Allahyari’s work is full of flashing and blingee-d GIFs of hearts, butterflies and roses. Between the GIFs, advertisements of women hock lingerie with their bodies whited out, a reference to Iran’s censorship of these images. When viewers click on one of the GIFs, they’re directed to another page, which features an erotic yet slightly threatening statement. One GIF leads viewers to the phrase: “Give her the gift she can’t refuse.” Through Like Pearls, Allahyari reveals the dual desire and danger that comes from living under a regime that heavily polices women’s bodies and sexuality.

Installation view of Morehshin Allahyari’s Like Pearls in HACKING/MODDING/REMIXING as Feminist Protest exhibition at the Miller Gallery at Carnegie Mellon University, 2017 (Courtesy the artist and Miller Gallery at Carnegie Mellon)

Nearby, RAFiA Santana’s Black Power Project also employs the exaggerated, seizure-inducing quality of GIFs. But here, the GIFs address white musicians and celebrities’ obsession with black fashion and culture. In one GIF, Macklemore, wearing a crown, stands in front of a raised, closed fist, symbolizing black power. Suddenly, he turns black, as do Iggy Azalea and Kylie Jenner in subsequent GIF projections. By pushing these pop stars’ appropriation of black symbols and fashion to its absolute, offensive limit–blackface, Santana’s collection of GIFs, despite their cheery colors, reminds viewers that cultural appropriation can be its own form of violence.

While taken independently, I’m not sure I would have even enjoyed RAFiA Santana GIFs, but viewed with Like Pearls, these two GIF-based works portray how marginalized identities can manipulate kitschy and glitchy form of digital technology to pointedly critique oppression. While each take aim at different issues–censorship in Iran and the cooptation of black culture, both artists reveal a parallel rejection of patriarchal power and white supremacy.

Similar conversations between included works occur again and again throughout the exhibition. By making space for multiple identities in HACKING / MODDING / REMIXING As Feminist Protest, Washko shows how disparate and diverse voices strengthen, rather than take away from, active forms of resistance. And at a time when intersectional feminism is rarely successfully achieved either in art or political activism, the show presents a much-needed refresher of how formidable it can be.

from Art F City http://ift.tt/2kKp1yi via IFTTT

#IFTTT #Art F City

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