Resemblage, the combination of the words resemble and collage, is the singular body of self portraits created an online avatar @davidhenrynobodyjr. as response to an immersion in Social Media
Schitzo Salad Man, Resemblage 2017, 16"x16" ed. of 5
Painted Into A Corner, Resemblage, 2016, 16"x16" ed. of 5
Hamburger Helper, Resemblage, 2016. 16"x16" ed. of 5
The Reptilian Mind, Resmblage, 2016, 16"x16" ed. of 5
Displaced Figure With Jettisoned Eye, Resemblage, 2015, 16"x16" ed. of 5
Plastic Surgery Disaster, Resemblage, 2015, 16"x16" ed. of 5
Plate Tectonics Of The Psyche, Resemblage, 2017, 16"x16" ed. of 5
Spam Bot, Resemblage, 2017, 16"x16" ed. of 5
Cheetos Trump, Resemblage, 2017, 16"x16" ed. of 5
Head Of Mashed Potatoes, Broccoli and Meatballs, resemblage 2016, 16"x16", ed of 5
Sloppy Joe Boi, Resemblage, 2017, 16"x16" ed. of 5
PB and J Is My Jam, Resemblage, 2017, 16"x16" ed. of 5
Trump: Deal With It, Resemblage, 2016, 16"x16" ed. of 5
The Shadow Of Lovers, Resemblage, 2015, 40"x40" ed. of 3
Paradox In A Box, Resemblage, 2016, 40"x 40" ed. of 3
Quantum Selfie In Black Hole, Resemblage, 2015, 40"x 40" ed. of 3
The Dreamer, Resemblage, 2015, 40"x 40" ed. of 3
Head And Head in Labyrinth, Resemblage, 2015, 40"x 40" ed. of 3
Double Your Pleasure, Resemblage, 2015, 40"x 40" ed. of 3
The Human Weeble Wobble 1995-2018
I designed the first Human Weeble Wobble in 1995 in NYC for a performance art event called The Deviant Playground. Artists were asked to make interactive works of art and performance. Nobody was certain It would work and it was a bold and exciting experiment. As soon as i had fabricated it, i gave it a test and it rode beautifully!! I had the original Weeble in Williamsburg, Brooklyn, for years until it disappeared in 2003. It was fascinating to ride and i loved to let the audience play on it. In this sense, it is a sculpture that breaks the 4th wall unifying the audience and artwork into a creative whole. The audience takes care of the work, and each other, often teaching newcomers how to use it. The Weeble creates its own society with its own sense of governance.
I released footage of me riding the Weeble from 2001 onto instagram in 2016 and the video went viral. Since then i created a new Human Weeble Wobble, owned by two collectors, Nick Hugo Schmidt and his partner, in Bushwick, BK in the fall of 2017. Footage of the new Weeble went very viral on social media. The Weeble is available for events and i also fabricate them for sale. The sculpture was recently featured in a Vice video that covered an open to the public riding event and interviews with me the originator, at Superchief Gallery in Bushwick, in February of 2018.
Riding the Human Weeble Wobble on the Williamsburg, Brooklyn waterfront in 1995
Pizza Infinity was a body of work that was developed while i was overseas on a residency in Basel, Switzerland for 6 months in 2007 after slowly befriending a local pizza restaurant across the street from a major museum, The Beyeler Foundation. The pizza place was the only spot to eat at night and i frequented it often. They had Picasso posters on the wall to loosely appeal to the museum crowd, and the establishment reminded me of my childhood pizza place in Pennsylvania where i grew up. i proposed an art show about Pizza to the owners and i fabricated and sight specifically installed a series of felt banners about Pizza as a consumerist religious icon. I moved to Berlin that summer and produced a solo show entitled Pizza Infinity at Brot Und Spiel, a young gallery in Berlin. i made a huge Last Supper With Pizza felt banner and a corresponding Last Supper table in the room, meant to mimic the image on the wall, I served Pizza and Beer and invited the audience to sit around the table. The Last Supper on the wall correlated with the people at the table in an odd and surreal manner. I Installed many other Pizza pieces as well.
I went on to produce many more Pizza banners and showed them at art fairs in Miami, New York and Puerto Rico. I Produced Pizza Infinity drawings and there were some performances also. The work was intentionally childlike in its aesthetic at times in order to probe the deeper meaning and feel in consumerist culture. i felt that pizza was a metaphor for the body. I was often combining figures and pizzas together in the compositions.
Adam and Eve in Pesto Pizza, 2010, felt fabric banner 36"x38"
Installation View of Pizza Infinity solo show at Brot Und Spiele gallery, Berlin in July of 2007
Dance Of The Dead Pan Pizza, felt fabric banner, approximately 7ft x 7ft
The Last Supper With Pizza, felt fabric banner, approximately 7ft x 12ft, 2007
All the Children Of The World Around A Mushroom Pizza, 2008 felt fabric banner, 36"x 36"
Eagle With Pizza Slice, felt fabric banner, 2010. 36"x 16"
Adam and Eve Censored With Pizza, 2009. felt fabric banner, 27" x 23"
Adam And Eve With Pizza The Hut, felt fabric banner, approximately 6ft x 4ft
Pizza Infinity Pregnancy Complications, felt fabric banner. approximately 5ft x 3ft
St John With Ascending Slice And Dove, felt fabric banner, 2008. approximately 54" x 38"
Pizza Infinity Banner, felt fabric banner, 2007. approximately 20" x 30"
Bear With Stolen Slice, felt fabric banner, 2007. approximately 50"x 60"
The Last Supper With Pizza, dark version, 2010. felt fabric banner 48" x 72"
Pizza Infinity Solo Show installation view, 2007, Berlin
Pizza Jesus installed at solo show, Berlin 2007, felt fabric banner. approximately 50"x40"
Slice Face drawing, 14"x 11" 2010
Digital Pizza Slice, drawing 2010. 14"x11"
DHBJR 9/11 Fashion 2001-2003
Host Wax Museum 2001
I took a job at Madame Tussauds Wax Museum for six months in order to stage a work of Immersive reality performance art in 2001, unknowingly on the eve of 9/11. I saw it as readymade theatre and set full of actors. Going undercover as regular guy from New Jersey, I worked as a Host wearing the required employee “jester” costume. My job was to be an entertainer and tour guide for guests. i was interested in the Wax Museum because not only was it really weird and creepy but also out an of ongoing interest in the dark side of Celebrity in American consumerist culture. The wax figures trace the relationship between fame and mortality as capitalist propaganda.
Inside the Wax Museum, the environment was hyper media saturated, The realistic Wax replicas projected a deathly unreality around them. often making it difficult to discern who was real and who was simulacra. I felt it was a perfect manifestation of Guy DeBord’s Society Of The Spectacle from 1967, i.e. that “mediated representations of social interaction replace actual social interaction, a complete commodification of the self.”
I wanted to place myself as working person inside this weird machinery and see how it affected my behavior. I began to more and more slip into character at work and often spent my shifts playing with guests and acting like a wax figure (which the hosts were often mistaken for) I snuck in Photographer Suzanne Wimmer to document my interactions with the guests and videographer Richard Sandler to shoot video and interview the public. Twenty Eight prints document the series, and the video Wax World gives a deeper look inside this world i inhabited.
I became super motivated at work and had the Corporate logo cast in silver which i wore as a necklace to work. Guests loved me so much that they wrote in glowing letters on my behalf to the management.
I showed Host in October 2001 as a solo show at Silverstein gallery in Chelsea.
Scare #2 (teenager)
Elle, Elton and Family
Dollar Bill Y'all
Wax World, 2001
Wax World video shot by Ricahrd Sandler
Alex Von Furstenberg 1999-2000
As an immersive work of performance art, I went undercover for one year at night posing as famed fashion designer Diane Vonfurstenberg's son, Alex. Using the name and a cheap vintage $20 suit "Alex" infiltrated hundreds of high profile celebrity parties in NYC in 1999 and 2000, meeting scores of luminaries such as Puff Daddy, Ivana Trump and even the President at the time, Bill Clinton and First Lady Hillary Clinton. The wherabouts of the celebs were gleaned from public information; the Gossip pages of The New York Post and the Daily News. Sixty photographs make up the limited edition Vonfurstenberg Photo collection. All the photos were taken by handing a 35mm point and shoot camera to strangers in the vicinity, an homage to Duchamp’s ideas of chance operations.
The project became a national scandal in the media and was featured on Television, ABC’s 20/20, on the front page of The New York Observer and in tabloids such as The Globe, to name a few. It was my first New York solo show at Roebling Hall gallery In Williamsburg, Brooklyn in October of 2000.
Alex wth Hillary Clinton, October 25, 1999 Hillary's Birthday Party, Ford Center, Autographed
Alex with Bill Clinton, October 25, 1999 Hillary's Birthday Party, Ford Center
Alex with Alex Vonfurstenburg, February 6, 2000 Vonfurstenburg house
Alex with Christopher Reeves
Alex with Operah Winfry November 18, 1999 Marie Claire "What Women Want" party
Alex with Puff Daddy #1, October 28, 1999 Interview Magazine's 30th anniversary party, Kit Kat Club
Alex with Blaque, January 19, 2000 Teen People Magazine Party, Apollo Theatre
Alex with Joan Rivers, November 15, 1999 "Seconding The First " benefit, Laura Belle
Alex with Sara Bernhardt
Alex with Left Eye, September 13 1999 NYC Fashion VIP afterparty
Alex with Harvey Keital, 1999 Creative Coalition Gala Dinner
Alex with Connan O'brien, October 6, 1999 St Regis hotel
Alex with Eve, January 19, 2000 Teen People Magazine Party, Apollo Theatre
Alex with Barry White, October 20, 1999 "love Unlimited" Book Release, Club Chaos
Alex with Twin Playboy Playmates Of The Millenium December 9, 1999 Club Chaos
Alex with Model October 28, 1999 Kit Kat Club
Alex with Bo Derek, March 26, 2000 Humane Society Benefit
Alex with Kylie Bax, April 26, 2000 "Frequency'" party Gustavino restaurant
Alex with Micheal Duncan, December 8, 1999 Green Mile afterparty
Alex with Ed Koch, February 21, 2000 Democratic National Debate, Apollo Theatre
Alex with Christian Slater, December 8, 1999 Green Mile afterparty
Alex with Ivana Trump, April 26, 2000 "Frequency" party Gustavino restaurant
Alex with Dennis Quaid, April 26, 2000 "Frequency" party Gustavino restaurant
Alex with James Brown, December 1, 1999 Barnies Promotional Party
Alex with Ron Silver, December 1, 1999 Barnies Promotional Launch
Alex with Rick O'kacek, June 13, 2000 American Fashion Awards, Lincoln Center
Alex with Destiny's Child, June 13, 2000 American Fashion Awards, Lincoln Center
Alex with Vonfurstenburg Models, February 6, 2000 Vonfurstenburg house
Alex with Tony Bennett, December 6, 1999 Hero Music Awards, Laura Belle
Alex with Alec Baldwin, October 8, 1999 Baldwin Breast Cancer Benefit, Marriot Marquis
Alex with John Cougar Mellencamp
Alex with Yasmin Bleeth
Alex with Reverand Al Sharpton, February 21, 2000 Democratic National Debate, Apollo Theatre
Alex with Joan Osborne, November 18, 1999 Marie Claire "What Women Want" party
Alex with Tommy Hilfigger, October 6, 1999 St. Regis hotel
Alex with Jane Seymour, October 6, 1999 St. Regis hotel
Alex with Sarah Jessica Parker, October 6, 1999 St Regis hotel
Alex with Woody Harrelson, November 15, 1999 "Seconding The First" benefit, Laura Belle
Alex with Rudolf Guiliani, September 13, 1999 NYC Fashion Show VIP afterparty
Alex with Kellis, January 19, 2000 Teen People Magazine Party, Apollo Theatre
Alex with Luther Vandross, April 17, 2000 Launch for "O" magazine
Alex with Richard Simmons, November 1999 California Raisin Promotion, Union Square
Alex with Rita Moreno, February 24, 1999 Tourneau Time Machine
Alex with Bill Bradley, February 21, 2000 Democratic National Debate, Apollo Theatre
Alex with Al Gore, February 21, 2000 Democratic National Debate, Apollo Theatre
Alex with Kathleen Turner, February 24, 1999 Tourneau Time Machine
Alex with Danny Glover, 2000 Essence Magazine Awards
Alex with Maria Shriver, April 17, 2000 Launch for "O" Magazine
Alex with Kevin Bacon, January 12, 2000 Walter Read Film Society
Alex with Puff Daddy #2, April 17, 2000 Launch for "O" magazine
Alex with Ivana Trump and Rofredo, April 17, 2000 Launch for "O" magazine
Alex with Billy Baldwin, October 8, 1999
Stalking Trump 1998-1999
I became obsessed with Trump’s image and stalked him for one year as a performance piece. Acting on information researched in the gossip pages of the New York Post and the Daily News to find Trumps public whereabouts I snuck into numerous VIP events in NYC. I trolled many a corporate function in search of the Don. For example: Trump was found at a fashion show after party one time and at a ribbon cutting ceremony for the live burial of illusionist David Blaine in another instance. Five photographs document their encounters.
When Trump went on to campaign for a potential Presidential run, I followed in hot pursuit. I campaigned on Trumps behalf by joining the Trump for President Exploratory committee in 1999. In midst of a great deal of uncertain publicity regarding Trump’s potential run at the time, chomping at the bit, I produced my own Trump for President 2000 poster. Armed with this Trump for President Sign and video artist Richard Sandler the two hit the streets and produced footage of the public’s opinion in the financial district of New York City.
As a member of Trump’s email list I was notified of a pro Trump rally at the Taj Mahal casino in Atlantic City New Jersey. I hopped on a bus to AC where I shot The 8th Wonder video. At the Taj I met Trump again and had all five 8x10 photographs autographed in a gold paint marker. Trump upon seeing the images said “you must be a big Trump fan” which was replied “yes sir, the biggest”.
Donald Trump is the mack daddy of (patriarchal) public image. In 1998-1999 the Don was all over the media. In the gossip pages stories ran like “Irate golfer clubs 2 black swans to death on Trumps Margo-lake golf course in Florida”, another reads “Trump refuses to remove shoes at benefit in Buddhist temple in Manhattan. In another instance there were reports that prisoners in a jail next to Trumps golf course had been yelling obscenities at club members. Within Trumps curious obsession with image lurks a DaDa-esque absurdism. Trump in his lifestyle puts his foot in his mouth again and again almost in self ridicule. In sense he openly criticizes himself integrating this element into his public image. The project was an attempt through comparison of the self to Trump to examine the inner mentality of Caucasian males and in the end to ridicule that aspect in the self, the Trump within.
The project uncannily predicted Trumps presidential bid in 2016.
Standard and Poor (1995-1998) was the collaborative alias of David Henry Brown jr. and Dominic McGill. The name Standard and Poor is taken from Standard and Poor’s a company which rates the value of Fortune 500 corporations.
Standard and Poor created challenging media generated scenarios posed to the public as real so that the public could assimilate the presentation, and in doing so inform the process of creation in an unscripted, unselfconscious manner.
The scenarios were derived from capitalist myths popularized by the media and trickled down to the public via consumerism. Standard and Poor chose subjects purported to be real but which actually existed in a mental twilight zone between real and not.
S&P’s most notable project, Carpet Rollers Red Carpet Service was an actual company which literally rolled out the red carpet for $99 a roll. The “business” served as a “mask” for the performance art of S&P.
The Carpet Rollers rolled out the red carpet for a famous mystery clients at celebrity expectant locations such as Trump Tower and The Plaza Hotel in New York City. The red carpet functioned as a behavioral catalyst and also as a portable stage. A crowd gathers and grows and gossips amongst themselves waiting for some unknown star. The crowd is the focus of the scenario. The Carpet Rollers step back from the work allowing unselfconscious voices of the public attempt to put the puzzle together.
The endgame in mind was not only to document the reactions of the public but to create a failure in which no one shows up in order to turn members of the crowd into momentary social critics. These works have been likened to Waiting for Godot, a portrayal of life as being about waiting for something grandiose to happen when in actuality life was about the process of waiting in and of itself.
Standard and Poor is the bastard child of fine art, documentary and sociological process.
Red Carpet Rollers Mailer Coupon, 1997
Rolling out the Red Carpet at The Plaza, NYC, 1998
Rolling Out The Red Carpet at The Metropolitan Club, NYC, 1998
Here The Carpet Rollers intercept a posh event for the Queen of Spain, Egypt and Jordan and actually roll the carpet for the Royal threesome in the end.
News paper clipping of an early Standard and Poor street performance