*Notes Live 9 (ix)
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Noah Travis Phillips is a collage artist working with their private media archive of “made, found, and modified” images to interrelate the personal, mythological, occult, cultural, and ecological. Their practice explores the posthuman and the Anthropocene through both digital and physical formats. At the same time, they subtly insert themselves into art history by cultivating a personal fiction or legend.
They are an artist, educator, and scholar. (BA, Naropa University, Fine Art and Environmental Studies; MFA, University of Denver, Emergent Digital Practices). They are Assistant Professor & FabLab (Z-Space) Coordinator at Rocky Mountain College of Art + Design. They have exhibited extensively locally, nationally, internationally, and virtually. They can be found online at noahtravisphillips.com.
I am a collage artist
who works with a private archive of "made, found, & modified" materials …
interjecting / sneaking my way into art history, and cultivating a personal fiction / legend
(multi-part, ecological, posthuman/anthropocene, mythic & quotidian,
personal, art historical and sociocultural, aesthetic … )
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ChatGPT what do you know about Noah Travis Phillips?
Noah Travis Phillips is an interdisciplinary artist known for his work that explores themes of memory, history, and the intersection of digital and analog technologies. His practice often involves the use of various media, including photography, video, and installation, to create layered, complex works that engage with the past and present in innovative ways.
Phillips is particularly interested in how technology mediates our experience of the world, and his work frequently addresses the ways in which digital tools can both preserve and distort memory. His projects often involve the use of archival materials, which he manipulates and recontextualizes to create new narratives.
One of his notable approaches is the blending of digital and physical processes, where he might start with a digital image, alter it using software, and then transfer it onto a physical medium, such as a print or installation. This process allows him to explore the materiality of images and the ways in which they can be transformed across different platforms.
Phillips' work has been exhibited in various galleries and institutions, and he has received attention for his ability to create works that are both visually compelling and conceptually rich. His practice reflects a deep engagement with the ways in which history, memory, and technology intersect and influence one another.
noahtravisphillips @gmail.com
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there is a red chair (for the animals)
there is a green chair (for the plants)
there is a blue chair (for water & air)
there is a yellow chair (for the land)
… at the table
superhero “cover”/self-portrait of NTP?
eco-terrorist supervillain
four-issue comic (short-form mini-series)
Dam Destroyer
Pipeline Protest Police Punch-Up
CEO Drop
Zoo (Liberation)
lasercut abstract book?
12”x12”
different colors of paper, lasercut
to make shapes, reveal and conceal over-/under- layers
circle, triangle, square
eye,
diamond?
hexagon
heptagon
more text-based works
wall-texts,
live reading “poems” or texts from others
books / publications …
of these poems and quotes
of text-based wall pieces
more performance / video / “post-material” work
poetry, saying things,
performing… in a costume,
holding things up to the camera
a lot of picture-in-picture interjections…
also websites, “dark forest” style
Titles:
Apophenia’s Garden (Apophenia’s Forest)
Sunlight for the Heart of Darkness [into website/html project]
unused bob dylan title = “Phantom Engineer, No. Cloudy (Number/# cloudy)”
Retrospective Teaser = title for some smaller exhibition …
New Work(s): A Retrospective
. . .
I’d probably never go out
I could stay home forever.
here comes success
running with open arms
a dark world is still a place
for wonder and beauty
(Utopia is a dynamic phenomenon…
we just try our best to imagine it, and work toward it,
recognizing all the time that we will come short of its possibilities,
and modify our knowledge and behaviors, or habits and practices, our ideals and ethics, … )
for Southwest Contemporary Magazine (SWC) Vol. 10.
“cover” of Pamela Zoline’s speculative fiction feminist collage classic
from the quotidian to the epic, the universal via the highly specific
hyperlocal,
Artist Name, Title, 2016, media, 16 x 30 in. Photo: Photographer. Courtesy the artist.
2, 3, 13v2, 15, 17, 18
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Noah Travis Phillips, The LIfe-Warmth Illustrations #2, 2024, digital GAN collage, 1080px sq. Courtesy the artist.
Noah Travis Phillips, The LIfe-Warmth Illustrations #3, 2024, digital GAN collage, 1080px sq. Courtesy the artist.
Noah Travis Phillips, The LIfe-Warmth Illustrations #13v2, 2024, digital GAN collage, 1080px sq. Courtesy the artist.
Noah Travis Phillips, The LIfe-Warmth Illustrations #15, 2024, digital GAN collage, 1080px sq. Courtesy the artist.
Noah Travis Phillips, The LIfe-Warmth Illustrations #17, 2024, digital GAN collage, 1080px sq. Courtesy the artist.
Noah Travis Phillips, The LIfe-Warmth Illustrations #18, 2024, digital GAN collage, 1080px sq. Courtesy the artist.
Featured in High Times magazine (now defunct)
Mycolandia at Dateline
40(+) Mushrooms (rainbow psychedelic GAN)
(photomechanical reproduction on paper, 47 pieces, dimensions variable)
Seven Mushrooms for Dateline
(photomechanical reproduction on aluminum, 7 pieces, dimensions variable)
FAKE →
(F for Fake)
[I think I just never heard back from this one … ]
https://liquidblackness.com/news/cfpfairuse
Submissions Due: September 1, 2024
essays: approx. 3-5,000 words
Fair Use/Fair Play/Fair Game
Fairness/Rules of engagement/Rules of disengagement
Property/Propriety/Impropriety
Use/Usufruct
Giving Credit/Being in Debt
Use value/Misuse value/Reuse value
Whose rights to use/Whose rights to refuse?
Enclosure/the commons/the undercommons/the surround
Sharing/Caring/Homage
Accumulation/Valorization/Self-valorization
Influence/Derivation/Derivatives
Duplication/Repetition/Reenactment
Riffing/Sampling/Redacting
Intentionality/Intention/Potension
Putting to use/Putting to work
Laying Claims/Laying law/Laying low
Permission/Transgression/Transformation
I think i understand, and appreciate, better than I used to, some tributaries of art history and the immense contributions of sincerity so many artists give, free of the expectations of wealth or notoriety.
I'd suggest that there's still little better for you than engaging in self expression in whatever medium you might apprehend best, despite avarice and stupidity.
Art may not save the world but it might save a piece of you that others can't defile from their predatory perch that longs to rob you of yourself, sometimes just for the practice of doing so.
Find bright moments inside yourself... share it with others you love and trust.
Much of the rest of the world is truly disillusioned, and illusioned,
(and basically good, I'm told.)
1400+ pennies (one-cent coin) in a unique dye sublimation printed bag, in a unique laser-etched time capsule, in a hole in Huerfano County, Colorado (Arkansas Watershed)
I want to make drawings of this, kind of like Beuys, trying to understand the energies,
how does this thing function as a technology…
How would Beuys understand it? (the same way Beuys asked how DaVinci would understand)
tevideo exhibition at Canyon Theater, Boulder, Colorado (Boulder Public Library - Main)
movies/videos + Q&A – approximately 1hr. 45m.
International call + search @20 artists
catalog/program; ⅓ fold
Arthur Golyakov
Zukhra Salakhova
Lea Porre
Jean Arnold
Jacob Riddle
Annette Isham
Jennifer Lord
[SAIC connection?]
I-Ching =
–x–
– –
–x–
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Hexagram 11 (Tài):
This hexagram symbolizes a period of established harmony and peace, often reflecting a time of success and prosperity. The overall message is one of positive progress and a flourishing environment.
Changing 4th Line:
The 4th line, when changing, can indicate a need to be vigilant and avoid complacency or arrogance. It suggests that the period of relative peace may be subject to external forces or internal pressures that necessitate a re-evaluation of one's position and strategy.
Changing 6th Line:
The 6th line, also changing, points to the importance of maintaining integrity and avoiding the allure of excessive ambition or power. It suggests that one's inner strength and moral compass must guide actions during this period of change, to ensure that success is not achieved at the expense of principle.
Overall Interpretation:
Together, these changes suggest a transition from a state of relative stability to a period where new opportunities and challenges may arise. It's a time to be adaptable, strategic, and mindful of one's choices, while remaining grounded in one's values and principles. The focus should be on leveraging one's strengths and making sound decisions to navigate the changing landscape successfully.
In essence, Hexagram 11 changing the 4th and 6th lines signifies a time of transition, requiring a balance between embracing new opportunities and maintaining one's integrity. It is a period where one's ability to adapt and make wise decisions will determine the outcome.
“Figure in a Landscape Romance” rehearsal
from “portrait” → “Figure in a Landscape Romance”
Romantic figures in a landscape?
book / PDF publication (also a +4 Publications rehearsal/demo)
figuring out what “+4 Publications” can look like and be …
more structural / formal kind of presentation of these compositions
and like a facing-page that says what is depicted…
poetic or image file name style
sequential, narrative?
motifs or episodes…
Provide something like a Tracklisting
credits =
author / artist / collage; scissors + Photoshop (Illustrator, InDesign)
printers,
publisher
producer
made, found, & modified imagery
Romantic Figures in Romantic Landscapes rehearsal.
a very personal exploration of hopeful (whimsical?)
constellations, produced on a variety of substrates for exhibition
and Phillips’ first publication / zine in this particular format,
following a rhythmic hiatus from making books
from an image archiving practice more than a quarter-century-long,
the artist
here they offer (romantic) figures in (romantic) landscapes,
grown from the artist’s private media archive,
suggestive constellations,
gesture to ... ,
the art contained includes “made, found, & modified” images, ,
multicentricity, and an ecological quality of interrelationship as a way of exploring and present possibilities
dramatic theaters of personally and more universally meaningful symbols,
characters interact, symbols, things, beings, objects, organisms,
Noah Travis Phillips’ Romantic Figures in Romantic Landscapes is a deeply personal exploration of archetypal themes central to the artist’s practice. These dramatic theaters of meaning intertwine characters, symbols, and organisms in an ecological dance of interrelationship, navigating both personal and universal narratives.
Drawing from over a quarter-century of image archiving, the works feature "made, found, and modified" images. By turns whimsical and profound, Phillips’ image groupings function as both circuits and constellations—dynamic with metaphor and symbolic resonance.
Presented in this unique condensed format, the work acts as a rehearsal for an upcoming exhibition, marking Phillips' return to bookmaking and publication. With an emphasis on multicentricity, this collection invites viewers to uncover hidden links and explore new possibilities, abstracting meaning and offering agency to those who engage with the work.
Noah Travis Phillips’ Romantic Figures in Romantic Landscapes plunges viewers into a surreal and deeply personal exploration of archetypal themes central to the artist’s practice. These dramatic theaters of meaning intertwine characters, symbols, and organisms, navigating both personal and universal narratives. Grown from decades of image archiving, the works feature "made, found, and modified" images. By turns whimsical and profound, Phillips’ image groupings function as both circuits and ecologies — dynamic with metaphor and symbolic resonance. Presented in this unique condensed format, the work acts as a rehearsal for a possible exhibition, marking Phillips' return to bookmaking and publication. Emphasizing multicentricity, the collection invites viewers to uncover hidden connections, granting agency to those who engage with its world.
Noah Travis Phillips’ Romantic Figures in Romantic Landscapes plunges viewers into a surreal and deeply personal exploration of archetypal themes central to the artist’s practice. These dramatic theaters of meaning intertwine characters, symbols, and organisms, navigating both personal and universal narratives. Grown from decades of image archiving, the works feature "made, found, and modified" images. By turns whimsical and profound, Phillips’ image groupings function as both circuits and ecologies — dynamic with metaphor and symbolic resonance.
With approximately 14 artworks featuring hundreds of images, arrayed as a possibility, a flirtation, and an essay by poet (and lifelong friend of the artist) Amy Thami, this unique condensed format serves as a rehearsal for a possible exhibition, marking Phillips' return to bookmaking and publication. Emphasizing multicentricity, the collection invites viewers to uncover latent connections, offering agency to those who engage with its world.
disguise
outside
exterior
facade
dream
memory
labyrinth
& & &
evil good
skin border barrier permeable
Ⓐ
change & chance [on front pockets]
blood
flesh
meat
muscle
once more
with feeling
( )
‽
there you are
here we are
birth / old age / sickness / death
how’s your news?
Erotic
Comic
Pathetic
Heroic
Furious
Fearful
Grotesque
Wondrous
animal
beast
being
creature
practical
metaphysical
theoretical
mystical
abstract
individual
social
. . .
sunlight
heart
darkness
maze / labyrinth[1] (/ oubliette)
minotaur (leaf) (blue)
garden
forest
mountains
kind-faced suns (above wall?)
“a table stands empty at the edge of the stream”
[1] & Labyrinth the movie as well, of course,