Jon Brumit

Jon-Brumit_ Jon-Brumit_project-imageABOUT THE ARTIST

Jon Brumit is an artist working at the intersections of sound, public engagement, collaboration and structured improvisation. His solo and collaborative works have been exhibited internationally at venues including the Whitney Museum of American Art, DeYoung Museum, MCA Chicago, Artists Television Access (SF), Venice Architectural Biennale, Novi Sad Contemporary Museum (Serbia), Radio Web MACBA (Barcelona), MOCA Los Angeles, MOCAD Detroit, SF MOMA, 0047 (Berlin), and In-F (Tokyo).

Publications include Art Papers, Penthouse, Punk Planet, Wired, Artforum, CAA Journal, Readymade, 7×7, New York Times, and the Los Angeles Times with broadcast media coverage including 20/20, Today Show, Tech Now, Discovery Channel, and NPR’s All Things Considered.

Awards and commissions include Kresge Arts in Detroit Fellowship, Creative Work Fund, CEC ArtsLink, San Jose Public Arts Commission, Oakland Arts Commission, Meet the Composer, Graham Foundation for Advanced Studies in Fine Arts, Knight Foundation, and the Knight Arts Challenge. Festivals include ISEA/01 in San Jose, Version 05 in Chicago, Sonic Fragments at Princeton University with residencies at Elsewhere (NC), Headlands Center for the Arts, Temescal Amity Works, KUDA.org (Serbia), and the San Francisco Dump.

To see more work by Jon Brumit, visit www.jonbrumit.com.

Top Right Photo Credit: Marvin Shaouni

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ESCAPE FROM WEED MOUNTAIN

Presented as part of the Art X Detroit 2015 Visual Arts Exhibition, Escape From Weed Mountain is a 50 channel sound installation with accompanying vinyl record by the same title. The installation is a large-scale diorama based on a makeshift semi-rural campground that is in turns a backcountry paradise, tourist attraction, smoking den, meditation center, workspace, death metal rainbow gathering, and utopian development. Each of the tents, huts, grow rooms, or other structures emits its own soundtrack.

ARTIST STATEMENT

While Escape From Weed Mountain both celebrates and condemns new technology, white trash culture, back-to-the-land movements, basic entrepreneurial drive, artist colonies, and the use of narcotics, the overall narrative is a conflicted response to self-discovery in multiform. The piece, although largely autobiographical, is inspired and informed by John Carpenter’s unfinished Escape from … series, Deleuze’s Philosophy of the AND, and attempts, through made and found objects and hand-cut records, to recreate a select few vivid and transformative memories of campgrounds, parties, or art festivals with so much “healing” going on that one could only hope to pass out, black out, or otherwise escape.