The Big Crossover @URL continues with a presentation of experimental television in light of how the idea of the channel, distribution method, video creation and plurality of subject have evolved alongside and against the move from network cable to digital spaces. Artist Kalup Linzy and members of video label Human Trash Dump will be presenting and discussing their work. This will be the World Premiere of the third season of Kalup Linzy’s As Da Art World Might Turn. Human Trash Dump will be showing Frankenstein’s Monster (Made in AmeriKKKa): Homecoming – Portrait of an AmeriKKKan Family.
Kalup Linzy is a video and performance artist based in Brooklyn, New York. Born in Stuckey, Florida. Linzy received his MFA from the University of South Florida. He also attended the Skowhegan School of Painting and Sculpture. Linzy has been the recipient of numerous awards including a grant from the Louis Comfort Tiffany Foundation, the John Simon Guggenheim Memorial Foundation fellowship, Creative Capital Foundation grant, a Jerome Foundation Fellowship, an Art Matters Grant, The Headlands Center for the Arts Alumni Awards Residency, and a New York Foundation for the Arts Fellowship in Film and Video. He is currently a 2019 Tulsa Artist Fellow.
Linzy’s exuberant and unrelenting internet soap dramas have populated Youtube, numerous gallery exhibitions & Moma’s permanent collection, earning them a coveted ambassadorship between DIY lo-fi online video stardom and the Art World. They are written, directed and often star Linzy in multiple roles that satirize the conventions of television soap opera including the melodramas of the contemporary artist . They play with ideas of performance, occupation, sexuality and cultural-identity.
As Da Art World Might Turn Season Three: Katonya, a thriving mid-career artist, lends a supporting ear to a friend experiencing a career slump. Breena Cowill, an independent curator, art advisor, and manager of her grandmother’s estate, carries family secrets, that if revealed, could alter her entire existence. Kalup Linzy, writer, director, and editor voices all the characters and portrays five of them. Cast includes Chris Leacock aka Jillionaire, Jared Blydenburg, Adam Carnes, Greg Donnini, Becky Flanders, Elisa Harkins, Quentin Marcellis, Noelle Mason, Phyliss McEwen, Sam Newton, Kale Roberts, Selina Roman, and Vashonda Sherra.
HUMAN TRASH DUMP (2015 - 2018) offers contributors access to the production of digital media. Audio, text, image, and video files become tools –– handbooks, puzzles, and keys. Participants stream, download, share, and remix archived fragments, to expand collective intimacy.
Non-commercial use only. Data is stored in a dump not a cloud.
https://archive.org/details/humantrashdump
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HUMAN TRASH DUMP was originally a four part video series, which was conceived prior to HUMAN TRASH DUMP on STROBE Network and HUMAN TRASH DUMP a video label.
HUMAN TRASH DUMP a video label
Releases 1 - 16 2015 - 2016
Releases 17 - 32 2016 - 2018
HUMAN TRASH DUMP channel
Releases 1 - 12 2017 - 2018
Frankenstein’s Monster (Made in AmeriKKKa): Homecoming – Portrait of an AmeriKKKan Family
Featuring: David Ian Griess and Preach R Sun, Camera Operator: Elizabeth Lamb, Video Editing: David Ian Griess and Preach R Sun, One-Man The Liberation Project in Conjunction with Empathy Surveillance, 2019, 00:31:53
Frankenstein’s Monster (Made in AmeriKKKa): Portrait of an AmeriKKKan Family, was a public action performed in Charleston, South Carolina — ground zero for AmeriKKKa's tragic history of slavery — on July 4th 2019.
https://iamfugitive.com
Preach R Sun was the first contributor to HUMAN TRASH DUMP channel October 30th, 2017.
This event is the third part of The Big Crossover @URL which examines the place of experimental film and television within the ecosystems of art making, stardom, currency, and the Art Economy, as well as the mainstream content economy and ideas pipeline. This section is a meditation on the new, elusive social capital experimental filmmakers sometimes garner and sometimes reject in the Internet era. Utilizing both physical and screen space we explore the role of internet-mediated representations of marginalized people in digital hierarchies of exposure, profit and expectation. Through this lens we seek to ask: how do, and how can, marginalized people claim ownership and representation of their identities online?
The Big Crossover @URL is a section of the yearlong experimental film series The American Experiment supported by the Andy Warhol Foundation for the Visual Arts.
