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PARKER ITO / SARAH ROSAMOND
In conversation with PARKERITO.COM and, ultimately, Sarah
Rosamond
Somehow I feel it’d be interesting to begin by focusing on your
third party representation (bios/intros etc) across the
internet. To what extent do you see this diffusion of yourself
as part of your artistic output/identity?
Currently I’m in West Sussex. I go on YouTube and search
“whirlpool”. This is the first video that comes up HTTP://WWW.YOUTUBE.COM/WATCH?V=SX8VA9JBEFK.
I think whirlpools are a good metaphor for the flow of
information on the Internet, and I think searching “whirlpool”
on YouTube is a good example of this metaphor in action. This
video has over 9 million views. I had one upload on YouTube
that had like 10,000 views. It was a video of a giant shit that
wouldn’t flush down the toilet. It got flagged and removed.
This guy named Brooklynsfinest2007 kept messaging me telling me
he’d pay me to shit in his mouth. I asked him what shit tastes
like, he said “it depends on what the person eats LOL.”
Why does this video come up first when I search “whirlpool”?
Why does this video have over 9 million views? Does this video
have 9 million views because it comes up first in the search,
or does it come up first in the search because it has 9 million
views?
Information in the whirlpool (Internet) spins around and
around, gaining context and losing context. The most visible
place is the center (even though this is probably the shittiest
http://cmdldn.tumblr.com/post/10848964754/parker-ito-sarah-rosamond
place to be in an actual whirlpool). When and where to drop
your information in the whirlpool is really the secret of the
Internet, and big corporations pay tons of money to have people
tell them this shit.
The whole Rebecca Black phenomenon illustrates this
beautifully.
I dropped a bunch of shit in the whirlpool back in late 2008 /
early 2009 and it’s still floating around. This leads into your
next question and I’ll answer it here, but you should still
leave the question in the same place. I’ve always talked about
(or been talked about as) being from California, and that
influencing my work. Or maybe actually the Internet influenced
my decision to make it known that I was from California. I
grew up in Orange County, right next to Huntington Beach.
Huntington Beach is known as “Surf City USA”.
I’ve referenced the Beach Boys several times in projects as a
way of referencing an idea about a lifestyle. In my mind this
surfer/California lifestyle paralleled my projected Internet
lifestyle. The Beach Boys named after and based their image on
the surfer lifestyle, even though only one of the Beach Boys
could actually surf (I think it was Denny). Even though I’m
from California I don’t really like going to the beach, and
I’ve claimed to be an Internet expert / professional web surfer
in other interviews, but maybe I don’t know shit about the
Internet, just like the Beach Boys didn’t actually surf.
One of the best interviews I’ve ever read was an interview
about Maurizio Cattelan in Wallpaper magazine. Instead of
interviewing Maurizio directly they just asked his gallerists,
curators, and friends to speak about him.
Your Californian heritage is often emphasised, a detail that
might seem paradoxical to some given the boundarylessness of
the internet. For example, THECREATORSPROJECT: ‘L.A.-based
artist and internet wunderkind Parker Ito isn’t defined by the
confinements of geography, as his stomping grounds can be
accessed virtually from any computer.’ How important is
location / identity to you?
↓↓↓
Whirlpools are natural phenomena, upon which, once developed,
we as humans can have little effect. Do you think we are as
helpless when it comes to controlling this virtual whirlpool?
I’ve phrased that somewhat pessimistically, but it would be
interesting to consider any positive outcomes of this
information flow. Further, although your above answer accepts a
level of authorship over at which point we drop information in
this whirlpool metaphor, there seems to me just as many
instances in which we might add or create information
unwittingly as part of our daily interaction with the web. Even
from what books or games you browse on amazon you are creating
information about yourself, which is then part of the public
domain with the potential to effect how other parties interact
with you.
HTTP://EN.WIKIPEDIA.ORG/WIKI/STREISAND_EFFECT
I have about 10 email accounts. Some of them I use only for
signing up for porn sites. I’m pretty sure if you searched one
of these email addresses in Google you could see some of the
porn I’ve been looking at.
In essence we can’t hide from the accountability of our
actions. I think there’s the potential to perceive something
weird and fatalistic in this, but we should really fight
against seeing the big corporations - the metanationals - in
this light. To what extent do you see ‘Parker Ito’ as a brand?
The top google result for ‘whirlpool’ is a home appliances
company.
If I say “yes I’m a brand” people might think I’m full of shit.
Or the above statement reaffirms my status as a self aware,
transparent, brand.
Or nobody has figured out that I’m just a DOG yet.
Lol. I find your METRO GALLERY INTERVIEW particularly
interesting because it reappears across the internet in some
kind of obscure places.
HTTP://CURRENCYTRADINGEXCHANGEGUIDE.COM/691020/CHILLINW-PARKER-ITO/
HTTP://GUITARLESSONFORYOU.COM/2011/06/CHILLIN-W-PARKER-ITO/
HTTP://WWW.SEXPRODUCTSELL.NET/CHILLIN-W-PARKER-ITO-ART-VISUALART_17359
PERSONALISATION OF THE INTERNET has become a popular topic of
http://cmdldn.tumblr.com/post/10848964754/parker-ito-sarah-rosamond
discussion over the last few months. Yet your quotation of
others to describe yourself coupled with its then saturation of
your google search seems to point to a depersonalisation of the
internet, a sort of outsourcing of identity. To what extent is
this a concern of yours? Can we see these concerns reflected in
your Most Infamous Girl project?
This goes back to the whirlpool idea.
The Internet is all about access to information. But in the way
that we’re all creating and dispersing information about
ourselves, the Internet is also about outsourcing of identity.
If you don’t know how to outsource your identity, you don’t
really know your identity. Recently, ‘WHEN NESTLE WANTED TO
FIND OUT MORE ABOUT WHAT AUSTRALIANS TALKED ABOUT IN THE
KITCHEN, IT CREATED A 5000-STRONG ONLINE COMMUNITY AND BEGAN A
REGULAR, TWO-WAY CONVERSATION WITH GROCERY BUYERS’. And often,
when people want to know where they are within their social
circle, they create a ~500-strong online community and begin a
regular, two-way conversation with friends. Most of the time
this is harmless. Maybe the Parked Domain Girl paintings take
this idea to its extreme, highlighting this conflict over
Hannah, the ‘Attractive Student’s image / identity /
personality. As Artie Vierkant said, ‘Parker’s Parked Domain
Girl paintings involve him versioning the same jpeg over and
over until his personal brand can overtake or become synonymous
with one of the most widely-circulated images on the internet.’
I don’t really know how much control I have over it all. Maybe
it would have been more appropriate if you answered this
question for me as how you would think I would answer it, I
guess so I could find out.
Should discourse around your painting consider these ideas?
Could the whirpool be used as a metaphor for the wider flow of
information in general, beyond the internet? Perhaps your use
of paint is a material reflection of this.
To consider flow of information in terms confined by the
Internet seems wrong. Often people introduce me as or call me
an Internet artist, yet I’ve made mostly paintings in the last
two years. Maybe discourse or whatever should start there. It’s
also funny how I introduced this whirlpool idea in my first
response, and we’re still talking about it here, it’s got
caught up in it’s own mini-whirlpool in this article. Which is
why maybe I have a concern over leading this notion of
discourse too authoritatively, I don’t know whether that’s good
or bad.
JstChillin created a centralised platform for a number of
convergent practices, and, for the uninitiated viewer, thus
becomes an important resource. To what extent did this project
help create a sense of community? Further, how was this
community then effected by its culmination?
The other day someone was telling me how READ/WRITE was kinda
like a degree show, an international degree show with everyone
you wanted to go to school with. In my mind the show was quite
symbolic as it clearly marked the end of something, and I think
this transcended the project. I made a status update about this
right before the show that said something like: “Having a solo
show and selling work is cool, but my all time fav. is having a
http://cmdldn.tumblr.com/post/10848964754/parker-ito-sarah-rosamond
group show with a bunch of your friends that you met off the
Internet.”
Actually the person that was telling me how the show was like a
degree show was Sarah Hartnett, an artist who was in the show,
and also my current GF. We only met because of the JstChillin
show. So maybe our relationship is an extension of that
project? That’s a romantic notion, but it’s probably not that
true.
Some of the artists in the show have told me that they met a
lot of people through JstChillin, and I hope we were able to
facilitate some sort of dialogue. There was a lot of good work
that got made, I’m really proud of what we were able to do. We
had tons of fun, and I got to become close with some really
interesting people.
I’m not really sure how to answer this question because I feel
too close to everything and that clouds my judgement. It felt
like there was a lot of energy behind it, but at the same time
it almost feels like it never happened, it wasn’t that
influential, just good timing. I’ve seen like two articles in
the last 2 weeks that speak about online galleries and how
they’re so “radical”, yet none of these articles mentioned
JstChillin. But none of these articles mentioned Netdreams and
Netmares, or Club Internet either.
What about online collectives functioning to the same end as
Warhol’s factory in the ‘60s?
Warhol was kind of using people though no? The factory seemed
more about hype and excitement than actually production. This
idea that if you’re at the center you’re important by
default. Are you saying that I’m Andy Warhol and JstChillin was
my “factory”
Not at all, I was more thinking about how people would
gravitate from around America to this kind of environment, as a
way of escaping whatever dull suburban or domestic reality they
were trapped in. The internet offers kids the chance to
‘escape’ their homes without even leaving their bedroom. But
maybe this isn’t so much true of an artist’s practice as
certain forums where just normal weird kids congregate, or
perhaps some youtube comments threads where people find a voice
or a subculture. Maybe there’s a more accurate comparison
between online collectivity and broader environments such as
Greenwich Village.
I like the MONTPARNASSE parallel because it feels more
romantic. OBJECT SEXUALITY is quite interesting in this regard.
At the time the film “Married to the Eiffel Tower” was made
object sexuality was quite a rare thing. The film follows a
group of women who are in love with objects, but because of the
Internet they are all able to meet up and hang out. Well now
this shit gets talked about on Tyra Banks. In essence the
Internet has maybe destroyed counter culture? Everything
becomes normalized and consumed by mainstream culture so
quickly. I can’t imagine what porn will look like in 5 years.
Will it even turn me on anymore?
Ironically the art world still seems to be afraid of the of the
Internet, or not equipped to handle its full potential. There
are moments of transcendence, but if you don’t have an object
based practice people aren’t that excited, and even then people
still want to touch the stuff. Sadly, you still have to network
as much offline as you do online. Hopefully this will change
soon. I feel like I’ve said that so many times that it’s become
a Parker Ito cliché.
I think the most rewarding thing about being a part of an
insular community is that you know who your audience is, and
that fosters some really great dialogue, and giant circle
jerks.
Your new jpegs exhibition seems to have been structured around
an emphasis upon the post-medium condition. This is a notion
that has gained considerable momentum over the last ten years,
with commentators such as Krauss emphasising a state in which
media has become so conflated that the artist must strive to
attain a purification of art itself. In what way does the
post-internet post-medium differ from that explored in the
institutional art world of the last decade? Do you see this as
a node at which post-internet practice can align itself with
the art world at large?
In my social circle I have two main group of friends - my
skateboarding friends, and my Internet / art friends. These
groups rarely interact, with the exception of them maybe liking
the same thing on Facebook. Several of my “friends” on Facebook
are people that I went to high school with and haven’t really
kept in contact with (except for being their friend on
http://cmdldn.tumblr.com/post/10848964754/parker-ito-sarah-rosamond
Facebook). I often wonder if they see what I’m posting and
think to myself “do they care, or is this just annoying them”?
I have a really hard time explaining what I do to non-artists.
People always say to me “what’s your medium?” Most of the time
I respond with “Internet”, but that really confuses them. What
I’m getting at is that time in itself creates new identities one of my favorite past times is coming across the nerdy girl
from high school who is now a hardcore socialite hipster. Some
people know me as “Parker Ito skateboarder”, some people know
me as “Parker Ito annoying Facebooker”.
But in my eyes the primary goal of a post-medium practice is
that the form always serves the idea first.
Is gender a significant aspect of ‘The Most Infamous Girl in
the History of the Internet’? Notions of sexuality have
featured prominently in discussion of Warhol’s Marilyn series,
of which a parallel has been made since Gene McHugh CONSIDERED
the relation of the two; should such themes form a part of the
discourse of your work? Perhaps traditional conceptions of
gender and sexuality have changed in the historical interim,
aided and abetted by technologies such as the internet.
For a long time art about identity seemed really cheesy and
boring to me. Then I realized all of my work was about my
identity, but a new kind of identity that is almost a
non-identity, that has occurred because of the Internet. I make
work under myself, then as Deke McClelland Two, and then I’m
doing this new project with Sarah Hartnett under the name
Olivia Calix. So I guess I’m exploring these different
identities, different personas, and different sexualities. The
Parked Domain Girl paintings are very perverse, but at the same
time that image is so watered down and WASPy. Deke 2 is totally
hypersexual, basically misogynistic at some points, and more
“urban”.
I’m big believer in multiple personalities, that’s to say in
our desire to have multiple personalities. It’s also why
google+, I think, had the potential be successful. Although
perhaps there’s something interesting in how you define between
multiple personalities and multiple identities. Can you talk
more about Olivia Calix? Maybe introduce a bit of what that’s
going to be?
Most people have multiple personalities. I was born under the
star sign gemini, the twins, so I believe my personalities to
be quite extreme. At times I’ve had people describe me as shy,
quiet, and aloof, while at other times I’ve had people tell me
that I’m intimidating, loud, and obnoxious. The truth is
probably somewhere in the middle, and also depends on my mood
and what substances I’m on. I didn’t start drinking alcohol
frequently until about last fall, and I still only really like
drinking Bellinis and White Russians. Alcohol and drinking was
an important business move for me, as one of my professors once
told me, “more art business goes down in clubs and bars than
anywhere else.” I spent three weeks in New York this year and I
was really fucked up for about 19 of those days, but I think
this is what New York does to people anyways.
With the aid of technology it’s a lot easier to curate multiple
identities simultaneously and really sell them. The movie
“Catfish” would be a really obvious example of this. I used to
get really depressed when I would meet someone AFK and their
personal brand didn’t live up to the hype, but then I realized
that that’s one of the new ways we’re experiencing these
technologies in our daily lives.
At a certain point I decided that I wanted to exhaust this
Parked Domain idea, just really do it for so long that it
became annoying. I’ve decided that 2012 is going to be the last
year I produce them, this seems appropriate as the world might
end. I’d like to do a “retrospective” show of the paintings as
well. Somewhere through the project I started getting really
bored of myself and this certain kind of thinking. For me the
Parked Domain paintings are like “conceptual” works, they’re
very rigid in how I approach them.
I’ve always tried to tear down the personal brand that I’ve
created in my previous works. Like I see myself as these mini
movements and I’m always reacting to the prior one. In 2009 I
made all Single Serving Sites primarily based on video work,
while in 2010 I reacted to this by returning to painting. So it
was really obvious for me to do the Deke 2 paintings, because I
didn’t want to disturb the brand of “Parker Ito Parked Domain
Girl”, but I wanted to do something to get myself out of a
certain kind of process and thinking mode. Deke 2 was a return
to material exploration and real hardcore formal painting
decisions, really hands on, studio based work that I would
describe as “hot”. I hadn’t started painting back into the
parked domain paintings yet, and it was the first time I was
touching oil paint in maybe 4 years. It felt really refreshing.
http://cmdldn.tumblr.com/post/10848964754/parker-ito-sarah-rosamond
The full name of the alias is “Deke McClelland Two”, which is
a name based on the Photoshop guru Deke McClelland. The
personality of Deke 2 is kind of Martin Kippenberger meets Lil
B. Keith Boadwee, a former professor of mine, responding to the
Deke 2 paintings once said, “Fuck I can’t even watch you paint.
You really do not give a fuck at all.” I thought to myself,
“Jesus christ Keith, your most famous works are you shitting
paint on canvas and you say I don’t give a fuck about painting?
I must really be onto something.” To clear the air though, I
really love painting, but am really interested in the cliche’d
“painter hater” position.
Paint FX was also a project that I tried to push as conceptual
for a long time, but latter realized it was more radical to
just say it was completely formal. In hindsight I’m really
proud of Paint FX, our output, and our sensitivity to software.
Olivia Calix is somewhere in between Deke 2 and Parked Domain,
it could be read as a formalist project, but it’s also becoming
extremely complex because of the nature of its context. Maybe
even creating binaries like “formal” and “conceptual” is stupid
at this point though. Olivia Calix started out as a critique of
an aesthetic that could maybe be associated with the 3rd wave
of “Internet Based Art”, or Tumblr era. This is when Internet
based artists became less nerdy and more hipstery. You know
this aesthetic looks really sexy, and that’s why it’s so
popular, but there’s just so much of it online today that it
starts to feel empty. The project is also responding to some
discussion about female visibility in the online community,
which a female / male duo creating work under a female alias
could be a strive for some post gender bullshit. Ultimately the
project Olivia Calix is a critique of ourselves (the artists),
because we can’t really escape our actions like we want to.
Either way people are going to click the “like” button on
Facebook. This may seem like a really insular conversation, but
there’s also this goal to create a kind of taste algorithm for
40 somethings and above (the people who run the art world).
Recently though, I’ve become extremely interested in the
parallels between Surrealism and Tumblr and I’m thinking about
a kind of neo-proto-hipster-surrealism that takes the form of
object fetishism sculptures and installations based on
prevalent jpeg aeshetics aided by Tumblr personal taste
filters.
One of the first projects we did was the single serving site
HTTP://WWW.TUMBLER.ME.UK, which is the first single serving
site I’ve made since 2009. The purpose of the site was to set a
tone for the whole project and this site even proceeded
OLIVIACALIX.COM. The site presents some tropes of Tumblr but
sort of reimagined as these fucked up hybrid sculptures in a
white cube. We’re always trying to create a best of, or
greatest hits. Each project we do is treated like it’s that
last, and that feels really exciting. Thanks to James Stringer
btw for helping us realize our “3D Magnum Opus”.
I think it’s appropriate that Sarah also discusses the project
as I’m not the only voice of Olivia Calix.
http://cmdldn.tumblr.com/post/10848964754/parker-ito-sarah-rosamond
I don’t think self-criticism is an exhausted trope. Or to put
it differently, critical awareness of the artistic self could
yet be an affirmation of the artistic self. I like how one of
your formative actions was to attempt to create a greatest
hits. Maybe bring Sarah in here? She could definitely have an
extended role in this, perhaps she has some questions of her
own? Sarah, I think it’s more appropriate if I stop referring
to you in third person.
In regards to varying identities online, I’m interested in the
whole camwhore culture and how it’s hard to separate oneself
from that to a certain extent when loneliness/desire are
prevalent feelings growing up on the internet. I’ve had the
internet since I was 11, but if I could chart my 14 year
history online the bookmarks would mostly be made up of dating
websites and chat rooms. I was pretty lonely growing up in the
middle of a field in England… the internet provided a
connection/fantasy with the outside world, however convoluted
that vision may have been. Representing myself on the internet
became a part of everyday life; I lied about my age/name
/location and tried to take flattering pictures of myself with
a shitty webcam. Everyone is trend watching now- everyone has a
tumblr/blog pushing their own taste which most of the time,
knowingly or unknowingly, has been constructed through
dominant algorithms, which we’re not exempt from, and therefore
neither is Olivia Calix.
We decided to make it known that this was an assumed name, an
adopted persona: actively placing ourselves within another
perspective so that we might be able to work differently, with
more freedom. If she had been considered to be a real person
making this work then there’d be fewer questions asked. Our own
practices touch on varying areas of fashion/lifestyles/ecology
which are all relevant in the context of Olivia Calix.
I guess I primarily became motivated about Olivia Calix when I
thought about her in conversation with Deke2. I liked the idea
http://cmdldn.tumblr.com/post/10848964754/parker-ito-sarah-rosamond
of a feisty hot girl coming up against this overtly
misogynistic rogue painter and playing him at his own game to
an extent. Deke is a parody of itself however, and almost
cancels itself out, and there’s a certain freedom in its
extreme and mocking nature which is easy to revel in or reject;
I like that you have to choose, there’s no middle ground. It’s
all likes on tumblr and fb. Youtube, in comparison, is slightly
harsher in its critique which makes people stand by their
belief in a music video/dance tutorial with great conviction- I
love the emotion on there.
I guess the video piece we made with James Stringer for the San
Francisco show was a full stop to a certain aesthetic which we
ourselves have indulged in and thought was cool. We just pulled
several elements together we’d seen again and again on the net
and branded them with the OC symbol and added some of our own
sub-narrative (via the detailing in the pubey floating
bio-hazard sign, shiny dildos, rippling water, sexy
reflections).
In response to Parker’s point about female visibility, Olivia
Calix does respond somewhat to this conversation which has been
discussed sporadically over the last year on and off fb; I
found the tallying of female vs male artists in exhibitions to
be an increasingly divisive conversation. I think you’re
dealing with some big personalities online, which may crumble
when you meet them AFK or may be even more intense upon
contact, but either way gender neutrality is, and will continue
to be, more tangible online. Reflecting on the sound piece
which was part of the show in San Fran kind of ties in with
issues of gender, whilst being completely tongue in cheek. We
used Akon’s “sexy bitch” as the kind of theme tune, playing
loud in the gallery with a sound sensitive t-shirt on top of
the speakers. The song is obviously just another monotonous
commercial “pop” song with bleak undercurrents of female
objectification but I like how glaringly defective the lyrics
are: even though he tries really(?) hard to find the words to
describe this attractive girl without being disrespectful, he
instantly resorts to using a derogatory, sexist and offensive
label, “sexy Bitch”. But at the same time he’s also
highlighting her, “hyper-femininity”. There’s just something
quite absurd and retarded about that.
I wonder if Olivia Calix would work if she wasn’t ‘hot’? For me
this envisioned personality points to interesting questions
about the relationship between embodiment and desire, of course
in today’s online environment, but also recognising this itself
as an embodiment of dominant cultural undercurrents, the
algorithms you refer to.
Hot can refer to a lot of traits in a person, not just their
physical hotness! How they make work/how they represent
themselves/what images they choose to represent themselves with
via image aggregator sites. Oh yeah, Harry, you can edit out
whatever you want from my extended train of thought!!
All I’ve really
attention right
but at the same
this interview.
edited has been grammar. I feel that to switch
back to Parker at this point would be crass,
time I think this last question has a place in
Do you identify with the term ‘post-irony’?
I’m skeptical of anything with “post” in front of it. I’d say
yes though. Hipster culture really fucked irony up, and I’m
totally part of hipster culture, but I’m like a proto hip
because I’m an artist. To say that is even ironic, but it’s
also valid and sincere. So I guess I’m answering a question
about post-irony with post-irony.
Post-everything -> repost-everything. I think we should get
over it.
http://cmdldn.tumblr.com/post/10848964754/parker-ito-sarah-rosamond
***
This interview was conducted, sporadically and distractedly,
between June and September 2011. Parker was, variously, in
London, Sussex, Malmö, Berlin, Venice, Tokyo and Los Angeles.
Sarah was in some but not all of these.
HTTP://PARKERITO.COM HTTP://DEKE2.COM HTTP://OLIVIACALIX.COM HTTP://JSTCHILLIN.ORG HTTP://PAINTFX.BIZ
HTTP://FLICKR.COM/PHOTOS
/SOPPINGGRANITE HTTP://YEAROFTHEHARE.ORG HTTP://OLIVIACALIX.COM HTTP://AQUAAGE.TUMBLR.COM
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