Arts Undone

Paula D. Ashe is a writer of dark fiction.  And I mean....dark.  In this episode we talk about what dark horror is, why we like it so much, and about agency, abjection, and the fact that safety is an illusion.  When one is confronted with the embodiment of experience, is self-mutilation an act of transgressive empowerment?  And why does Paula hate faces?  

Paula's new book is entitled We Are Here To Hurt Each Other and is available on Amazon.  Paula can be found on twitter @pauladashe

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ArtsUndone is a podcast and blog about all things art, including aesthetics, markets, and meanings.  Your host is Dr. Erin Schwartz

www.erin-schwartz.com

Facebook: www.facebook.com/artsundone

Instagram: @artsundone

Twitter: @artsundone

We have a discord server as well!

NEW VIDEO CONTENT:

A video version of this podcast will be made available on PATREON, join Patreon to gain access to exclusive materials, make suggestions on upcoming topics and much more!

www.patreon.com/artsundone 

MUSIC CREDIT:

Song: Documentary, Music by Coma-Media from pixabay.com

This week I have a conversation with photographer and artist Ferney Manrique Aragon.  Our conversation focuses mostly around photography, the embodiment of taking a photo and the fundamental difference between digital and analog photography.  It's a wide ranging and long conversation that addressed performance, abstractions, experimentation, Artificial Intelligence, and phenomenology.  We get deep.  

Ferney and I work together at a University in Wenzhou, China and you'll hear us talk a little bit about that as well, and what it's like to be a street photographer in China.  

We mention, briefly, the philosophers Roland Bathes and Henri Bergson, as well as Heidegger and Merleau-Ponty.  We also discuss the AI project that creates portraits of people who have never existed, which you can check out here:

https://thispersondoesnotexist.com/

Ferney Manrique Aragon can be found here:

Instagram: https://www.instagram.com/manchuriandarkos/

website: https://ferneyphoto.myportfolio.com/

Flickr: https://www.flickr.com/photos/volan/

Music credit:

Song: Documentary, Music by Coma-Media from pixabay.com 

Follow ArtsUndone:

Instagram: https://www.instagram.com/artsundone

web:  www.erin-schwartz.com

Patreon:  https://www.patreon.com/artsundone

In this episode I interview artist Erin Patton McFarren.

Erin Patton-McFarren is an artist and educator working in northeast Indiana. She studied art education and sculpture at the University of Saint Francis and earned her Masters in Library Science from Indiana University, specializing in educational media and arts reference.  Erin creates experimental cyanotypes with natural materials, primarily using the rivers and bodies of water near her home. She enjoys traveling to create site-specific work and is preparing work for two solo shows in the coming year.

Erin Patton McFarren website:  https://www.erinpattonmcfarren.com/   

Instagram: @epattonmcfarren

Look for her upcoming solo exhibitions in 2022 at the ArtLink Gallery, Fort Wayne, IN (artlinkfw.org), and at the Marcia Evans Gallery (marciaevansgallery.com) in Columbus, OH.  

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Music by Coma-Media from Pixabay

Find Arts Undone on Instagram: @artsundone Facebook: www.facebook.com/artsundone

Online at:  https://erin-schwartz.com/arts-undone-podcast/

Special thanks to Tracy from the Harpy Hour Podcast:  www.harpyhourpodcast.com

The audio version of the ArtsUndone Blog, at erin-schwartz.com

In a follow-up to episode 01: Burning the Banksy,  Dr. Schwartz checks in with the NFT market and considers where we're at now with the issues of authenticity and accessibility associated with this new technology.   

The audio version of the ArtsUndone Blog. erin-schwartz.com 

Recently, Christie’s auction house sold a piece of digital artwork by Beeple (Mike Winkelmann) for over $69 million. The interesting thing about the work, entitled EVERYDAYS: THE FIRST 5000 DAYS, beyond its aesthetic and mode of production, for me, is that the item sold is not a physical manifestation of the piece, nor is it “merely” a high-resolution digital file. The work was an NFT, or Non-Fungible Token.

What are the ramifications of this on the art market and future of art production?  In this article, the host, Dr. Erin Schwartz addresses issues of commodity and authenticity in light of news ways of trading art.