AVAILABLE ART WORKS - From The LA Art Show 2016 Installation

LIMITED EDITION PRINTS24"x36"  Edition ( 3 ) each

PLEASE CONTACT STUDIO FOR PRICE

Archival Digital C Prints - Metallic

LA16 Performance Video - Limited Edition Videos from Jana Cruder’s 2016 Los Angeles Art Show Performances of the “ Way of The Modern Man “  are available in limited edition sets as listed below.    The videos come on a 62GB USB, and can be viewed in any .mov or QT viewer.  The artists signature appears on both the box and the USB.    * inquire for details

LA16 Performance Video - Limited Edition

Videos from Jana Cruder’s 2016 Los Angeles Art Show Performances of the “ Way of The Modern Man “  are available in limited edition sets as listed below.    The videos come on a 62GB USB, and can be viewed in any .mov or QT viewer.  The artists signature appears on both the box and the USB.    * inquire for details

 

AVAILABLE ILLUMINATED LIGHT PANELS

ILLUMINATED LIGHT   PANELS    24"x36"  Edition ( 3 ) each

PLEASE CONTACT STUDIO FOR PRICE

Plexi, Florescent Lights, Duratran

IMG_2842.JPG
" Hypnotized "  Illuminated Light Panel by Jana Cruder

" Hypnotized "  Illuminated Light Panel by Jana Cruder

" Frown " 24x36 Illuminated Light Panel by Jana Cruder

" Frown " 24x36 Illuminated Light Panel by Jana Cruder

" Not Talking" 24x36 Illuminated Light Panel by Jana Cruder

" Not Talking" 24x36 Illuminated Light Panel by Jana Cruder

" Waiting " 24x36 Illuminated Light Panel by Jana Cruder

" Waiting " 24x36 Illuminated Light Panel by Jana Cruder

THE WAY OF THE MODERN MAN

The path of the modern man is lit by the glow of his smartphone screen. The manner in which today’s human exists in the world is increasingly mediated, truncated, and flattened out despite its illusion of depth. We no longer communicate directly, and we no longer walk upright. Our minds and our spines are literally bending toward the pull of the handheld machine. As inherently social beings, we are both emotionally disconnected and digitally hyperconnected within the new norm of technological dependency. While the cognitive downsides of this dynamic are decried in certain quarters, contemplation of its physical effects remains relatively rare. But what about what this does to our bodies? When our attention is on the small screens, how does our psyche inhabit our flesh?

Jana Cruder’s “Way of the Modern Man” represents an investigation into the sociological, physiological, and consciousness-adaptive experience of how we live now.  Cruder remembers being in Hong Kong observing and people watching,  scanning an ocean of humanity,  “I saw seas of people hunching over, never looking up…” It reminded her of those evolutionary charts that show fish growing legs, then in stages becoming homo sapiens and walking upright – except that it was like the far side of that, as though we’re devolving back to a place of crouching and grunting.  Determined to document this shift, she set up a conceptual and formal structure – both a physical space and a method by which to explore the contrast between the projected and observed self.

During Cruder’s isolation/observation booth portraiture process, each participant spends about 30 minutes in a private session with the artist. The subjects are alone in a confined, featureless space, furnished only with a single chair, and permitted to enter only with his or her mobile device. Communication between the subject and the artist takes place exclusively via text message, with Cruder outside the enclosure, not visible or audible to the subject. Conversations are captured in multiple layers – text message, still image, and video. Clothes are all or mostly removed not to create vulnerability, although that certainly occurs, but rather, to better study inflections of posture and spinal stance. But it’s worth noting the people soon forgot they are nude – evidence perhaps of how absorbed they are in texting with the artist. Cruder collaborated with a sociologist to produce questions that she could control for, adopting a more scientific methodology to measure emotions and physicality against each other.

The final images are presented in a series of back-lit panels, whose lightbox qualities recreate the luminosity of a smartphone itself. Large-scale typographical emoticons both inform and interfere with the image, obscuring and contextualizing the subject’s character at the same time. Like a mashup of Muybridge and Baldessari with the cool detachment of Arbus, the earthy, sepia tonality visually links the portraits to art history and to documentarian pursuits as well as to tropes of conceptual art. Stylistically, the series’ naturalism marks a break from the artist’s well-known high-gloss Barbie-based works, but this also represents a jump from deconstructing personal relationships to technological ones. “They know I’m observing them, and they add these smiley faces, even to the saddest stories. I’m watching them, how they are standing while they’re texting with me, and there’s this disconnect between the stories, the bodies, and the language – because what they are saying isn’t really what they are feeling. My goal is to show how the smartphone phenomenon is literally – on both a social and a physiological level – changing what it means to be human.”

CREATION

Each participant spends approximately thirty minutes in private session with the artist. The subject will be alone within a physically confined space, permitted to enter only with his or her mobile device. Communication between the subject and the artist will take place via text message only, and will vary slightly per session. The only other access into the session will be via camera lens, which will be fitted into an opening in the wall of the space.

The artist will be outside the enclosed space, controlling not only the text exchange but also still capture and video recording. Conversations captured in multiple layers: text message, still image, and video footage. A crafted compilation of these layers will explore the human:device relationship specifically in its effect on the human body. 

PASSWORD: WOMM