No Money Shot

This thesis addresses concepts of publicly performing ''free'', ''free labour'', consumption, and subversive representations of gender in video art. I use AIberto Greco''s work as a vehicle to investigate my site specific performances. I am interested in how network culture and free labour'' inform my practice. I critically assess these impulses and interests in free labour'' in my own practice. I use Tiziana Terranova''s assessment of free labour'' to analyze and expand the discourse of my own practice. Underneath my interest in Western network culture is the influence of the Brazilian Modernist movement, Anthropophagite. This movement comes to terms with western cultural hegemony and the consumption of culture. I question the viewer''s consumption and their traditionally passive mode of viewing through installation art. I use both American and Latin American art precedents found in Allan Kaprow''s and Hélio Oiticica''s installation practice. I synthesize my interest in consumption through metaphors of food, representations of sexuality, and participation in video installation.

Autorentext

Rosalinda Gonzalez engages in practice base researcher of video performance and online culture. She has a BFA in Spanish and BBA from the Wolff Center for Entrepreneurship from the University of Houston. In 2009, she received her MFA in Digital Media from the Rhode Island School of Design. She lives in Brooklyn, NY.

Klappentext

This thesis addresses concepts of publicly performing 'free', 'free labour', consumption, and subversive representations of gender in video art. I use AIberto Greco's work as a vehicle to investigate my site specific performances. I am interested in how network culture and 'free labour' inform my practice. I critically assess these impulses and interests in 'free labour' in my own practice. I use Tiziana Terranova's assessment of 'free labour' to analyze and expand the discourse of my own practice. Underneath my interest in Western network culture is the influence of the Brazilian Modernist movement, Anthropophagite. This movement comes to terms with western cultural hegemony and the consumption of culture. I question the viewer's consumption and their traditionally passive mode of viewing through installation art. I use both American and Latin American art precedents found in Allan Kaprow's and Hélio Oiticica's installation practice. I synthesize my interest in consumption through metaphors of food, representations of sexuality, and participation in video installation.