Born in 1987 Royal Oak, Michigan, stephen garrett dewyer works as an artist, co-founding editor of ∞ mile, writer and part-time professor. His art practice imagines the impossibility of occupying one position and often deals with surveillance, dissemination and the space between politics and poetics. A journal of art + culture(s) in Detroit, ∞ mile launched in 2013 at www.infinitemiledetroit.com. His work has been exhibited in Baltimore, MD; Detroit, MI; New Haven, CT and New York, NY. He teaches art and design as adjunct faculty at the University of Detroit Mercy. He has taught art and design as a Special Lecturer at Oakland University from 2014 - 2016, as an Intermittent Lecturer at the University of Michigan Stamps School of Art & Design in 2013 and as a Lecturer at Wayne County Community College District in 2014. He has given lectures and critiques at the College for Creative Studies, Eastern Michigan University and Marygrove College. He graduated with an M.F.A. in sculpture from the Yale University School of Art in 2011 and received his B.F.A. in Art History, Theory & Criticism in 2008 from the Maryland Institute College of Art (MICA) in Baltimore. He curated Propositions in 2009 at Area 405 in Baltimore.
stephen is interested in politics and participates in organizing and demonstrations for social justice including the occupations on Wall Street in 2011 and many demonstrations in Detroit. He was arrested for sitting at an intersection and jailed for 48 hours while participating in the 17 November Day of Rage demonstrations in response to the eviction of the occupation from Zuccotti Park. He lives in Detroit, Michigan.
11 July 2014
If critical art practices produce images in order for them to locate a counter-imagination to that produced by capitalism, then such a practice imagines the possibility of labor. Such a possibility I aim to make visible via images in which labor locates within the economy of the dissemination of images and not in any one image.
I am interested in making work about the process by which another subject inflects the subject of the work. The process becomes a way of making work about the impossibility of the work to imagine itself. It also implies a play in meaning that changes from one location to another location.
I attempt to make work about how sensibilities disseminate from one location to another location. Dissemination makes possible the impossibility of experiencing the same inequality (nonsense) elsewhere. If sensibilities become inscribed by the impossibility of experiencing the same nonsense, they also make possible the experience of the same sense (equality). I am interested in blurring sense and nonsense.
Differences between images happen by way of dissemination and reveals intelligence to have no definitive end in any one image. Thus, any image locates intelligence. I decided to become an artist, in part, since I was having difficulty developing a coherent syntax in my speech and art seemed a way of representing myself where coherence to a way of speaking was not necessary.
My intention will involve critically altering notions of aesthetics from ones that are ambivalent to the dissemination of images to ones that make visible such a process.