This female artist from the midwest builds an anti-disciplinary practice that uses found things and digital media to excavate and reconfigure their systemic and environmental inheritance.

Result #1

This female artist from the midwest builds an anti-disciplinary practice that uses found things and digital media to excavate and reconfigure their systemic and environmental inheritance. Her self-taught contemporary methods of conceptual spatial self-reflexivity are thus presented as both models and possibilities.Das Bootys recent exhibition interweaves her life story, her experiences, and her wishes to liberate her mother with an approach that includes physical and mental interventions. The artist uses her mother's apartment in Berlin as an exhibition space, leaving visitors to interpret and manipulate the multiscreen installation No. 6, 2016–. Here, Das Booty removes her mother's shoes and socks and replaces them with a pair of her own. She then concludes the act with a YouTube video, Das Booty (Only Youtube), 2016, showing her in a dress and boots. Das Booty is the main character of the video, whose reactions to the video are recorded on film, then reconstructed via video editing. Deftly looking in a mirror, she is an imperfect version of her mother; as the woman in her mother's shoes, she is also her own artist. We see a mother that acts out the same restless postcolonialism as her daughter. The meaning of her actions lies in their mutual recognition and recognition of the viewers participation in the process of reconstructing her relationship to her past. In Das Bootys video, her mother is not only a mother but also an artist who has made herself the daughter of an artist.A seventh work, Cartographie, 2016, is an archive of Das Bootys movements around the world, including interviews with different groups, street events, and messages on the internet. Several groups are represented by interviews: Artists, writers, musicians, and art critics. Das Booty creates her own cartography for the exhibition, composing her work in situ. One can feel the tension between the worlds of the images and those of the cartography, and in the end, Das Booty's work is no more a critique of postcolonial critique than that of colonial painting.

Result #2

The Central Park Series (all works 2016), for instance, dispenses with cheap, mass-produced, indeterminate plastic-cell-phone cases; instead, she uses found, human-scale plastic cutouts, which are joined together and covered in a layer of fabric until the fabric is finally damp. The artists improvisation suggests a structure in which subjects are not ciphers for words, but rather for bodies, beings, gestures, and movement.In these still lifes of handheld cameras, clothes, and other handmade materials, Williams invests her restless energy in an atmosphere where time and weather can be animated by nonmaterial forces. The shows title, from a sermon by Martha Colemans, refers to the humanist belief that a live body is intrinsically linked to the universe. In this world of synthetic and electronic delights, of items pulled out of a design bag, Williams conjures a world in which, though chemicals have replaced nails as universal symbols of property, they remain uncapturable. An idealized, imagined, and socialized subject, these cutouts play with possibilities for the rationalization of otherwise unobtainable value; by means of the digital media that have come to define our lives, they point toward the possibility of an artistically productive and rationalized world.

Result #3

She says she works with the technology of the womb, which allows her to bring together living, dead, and dying organic matter as well as with what she calls her spirit babies.Like a posthuman, if not radically transformed, The Wave, 2008, a three-dimensional-model sand dune, is on display. The dunes primary function, however, is as a temporary residence for the artist, who resides in a dune at night, and will continue to use it until she is given a permanent home. This layer of body behind a nebulous outer shell echoes the posthuman condition itself: the body and the body above it. The dunes shell also functions as a shadow of the fetus, which is obscured by a sort of white house of bones, and is the tectonic foundation of the dune. The woman and the baby are interwoven with each other, but also establish a binary, a unity of oppositions—human and machine. This final photograph, meanwhile, has been digitally sandblasted in an especially close-to-earth, earthy brown, suggesting the yellow skin of a newborn and the pink skin of a child. The works title refers to the human body and the baby: the womb and the machine, and, even more, the gendered body. The images on display are therefore both images and objects, implying the illegibility of distinctions between the purely formal and the tragicomic.As with human life itself, here at least we have seen both sides of the subject.

Result #4

This female artist from the midwest builds an anti-disciplinary practice that uses found things and digital media to excavate and reconfigure their systemic and environmental inheritance. Through the artwork that she has made through her feminist and activist strategies, political theory, and photography, she explores the transformative potential of each form of protest, whose function is to disrupt the power structures of capitalism. The exhibition is a case of one artist, who aims at dismantling the dominance of dominant cultures and identities.But the reordering of the artistic field in this way is a problem, not a problem. Each piece in this show is a model of its own alienation and autonomy. Some of the pieces are conceptually oriented, such as the dozens of thermal monitors that display various websites and live streams of unedited video footage. Others, such as the giant mesh of plastic netting hanging from the ceiling, or the dozen of plastic body bags lying on the floor, are socially charged. But none of them address the question of alienation, which lies at the root of everything about these works. They seem to propose an alternative to how we perceive social interaction—a model of interpersonal relations that is constructed in accordance with (and always precarious and compromised by) the very structures of culture and of representation. It is from this perspective that we can see ourselves: As Kelleen asserts in her interview with the artist Lili Ramo, the mesh is not a sign of resistance to the power structures of the system of the state, but it is an ironic gesture that embodies the state of alienation. The mesh is a statement of who we are and, as such, is a sign of resistance to the oppression of our social reality. The futility of this attempt to carry out a revolt against the laws of capitalism and its structures is shown by the numbers of dead, at times maimed, and injured human beings that it refers to. The piece is also symbolic of the way in which this spectacle of cruelty is not just destructive of individual existence, but also of social society.

Result #5

This female artist from the midwest builds an anti-disciplinary practice that uses found things and digital media to excavate and reconfigure their systemic and environmental inheritance. She paints the most politically engaged of human bodies in almost comical, almost pornographic poses. In her most recent works, which are recent sculptures in the form of lopped (artificial) teeth, she channels the forces of globalization. Two sculptures, Skinned Tides, 2008–, follow in the wake of the devastating sea-floor erosion that took place in the Gulf of Mexico last year, where she lived, and which affected the inhabitants of the communities that depend on a subsistence diet. She drew on the coastal shell as a material that evoked the dead of global warming as a way of reflecting on her position as a riverine artist in an age of global catastrophe.The sculptures are comprised of two or three such teeth, each sized roughly according to the measurement of a particular subjects forehead, which she then inscribed with ink. In the case of the teeth, her signature was clearly visible, but the "tobacco ads for cigars, offering to $5 dollars in exchange for a drop of red lipstick, were somewhat obscured beneath the contrasting pattern of cobalt-blue lacquered walls. A group of colorful, stylized portraits, Mur on a Guarani, 2008, pictured a young woman dressed in an elaborate garb in a nod to a religious symbol of purity and beauty. Holding the manikin-like turtle emblem on her shirt, the woman stands as the token of deviant sexuality. Mural, 2008, is a five-foot-high portrait of a young woman. She leans forward, her long legs showing off her solid, pale skin, yet the marks on her face indicate a smiling line of sight. A series of small, four-sided paintings depicts the women of her village in a variety of stylishly prepared atmospheres. The play of light and shadow is stylized, in part by dark-hued grays that have been digitally applied to the canvas in a style that evokes Arthur Moeller.