Filed under: Announcement
A PARTICIPATORY ART PROJECT THAT LINKS THE TWENTY PLACES IN THE UNITED STATES CALLED ‘JERUSALEM’ WITH THE ORIGINAL JERUSALEM IN ISRAEL FOR WHICH THEY ARE NAMED. THERE ARE JERUSALEMS IN ALABAMA, ARKANSAS, GEORGIA, MARYLAND, MICHIGAN, NEW YORK, NORTH CAROLINA, OHIO, RHODE ISLAND, TENNESSEE, UTAH, AND VERMONT. RESIDENTS AND VISITORS TO THE AMERICAN JERUSALEMS ARE INVITED TO PARTICIPATE BY SENDING PHOTOGRAPHS OF EVERYDAY LIFE TO BE MATCHED BY PHOTOGRAPHS FROM JERUSALEM, ISRAEL.
JerUSAlem
INVITATION TO PARTICIPATE
JerUSAlem-USA is a participatory art project that links the twenty Jerusalems in the United States with the original Jerusalem in Israel. There are Jerusalems in Alabama, Arkansas, Georgia, Maryland, Michigan, New York, North Carolina, Ohio, Rhode Island, Tennessee, Utah, and Vermont.
You are invited to visit and join with residents of the American Jerusalems in sending photographs of everyday life there (people, homes, shops, flora and fauna, community events and celebrations, signs with the name ‘Jerusalem,’ scenery, etc.). These photographs will be matched by images of everyday life in Jerusalem, Israel, and posted on the ‘JerUSAlem-USA’ blog.
Plot Synopsis: Max is a genius mathematician who’s built a supercomputer at home that provides something that can be understood as a key for understanding all existence. Representatives both from a Hasidic cabalistic sect and high-powered Wall Street firm hear of that secret and attempt to seduce him.
π was written and directed by Darren Aronofsky, and filmed on high-contrast black-and-white reversal film.
In 1996 Aronofsky began creating the concept for his first feature film “π”, a psychological sci-fi thriller. After the π script received great reactions from friends, he began production. The film re-teamed Aronofsky with Sean Gullette, who played the lead. During production, Aronofsky and crew realized they didn’t have enough money to complete the film. Associate Producer Scott Franklin came up with the idea to raise completion funds by asking every person they knew for $100. Later in production certain individuals put in more cash, which let Aronofsky complete the film. After π was completed (with a budget somewhere around $60,000), it premiered at the 1998 Sundance Film Festival and Aronofsky won the Directing Award. The film was picked up by distributor Artisan Entertainment and released in selected cities. The film later won an Independent Spirit Award and the Open Palm. $100 investors were said to be subsequently re-paid with $150. However, certain crew members complained that they were never paid at all. Crew members confronted Aronofsky about this, and he claimed he was suing his distributor. Use of the SnorriCam is one of Darren Aronofsky’s trademarks, as featured in π.
Chris After Hours of Spitting Food Dye Outdoors, 2004
c-print, 41 1/2 x 62 1/2 inches Framed, Edition of 5
Codex, 2007
HD & SD video/ Jitter/ mac mini
Atrium Gallery, Richmond Center
Frostic Video and Sound Art Series
more information and complete schedule: wmuvideo.wordpress.com
leave any comments on the video Blog, not here, please and thank you
The Six Feet Under Storyboards are an excellent example to begin the process of organizing our video works and to learn about storyboards.
“We wanted something that you would see week after week and be entertained enough to keep watching. Something that wouldn’t completely reveal itself on the first viewing.” Alan Ball, Six Feet Under
And Digital Kitchen helped to make that happen
http://www.d-kitchen.com
To watch the storyboards again visit the Six Feet Under site on HBO.com at
http://www.hbo.com/sixfeetunder/credits
Joseph Kosuth, One and Three Chairs (1965)
One of his most famous works is “One and Three Chairs”, a visual expression of Plato’s concept of The Forms. The piece features a physical chair, a photograph of that chair, and the text of a dictionary definition of the word “chair”. The photograph is a representation of the actual chair situated on the floor, in the foreground of the work of art. The definition, posted on the same wall as the photograph, delineates in words the concept of what a chair is, in its various incarnations. In this and other, similar works, Five Words in Blue Neon and Glass One and Three, Kosuth forwards tautological statements, where the works literally are what they say they are.
A sign is anything that can be used to tell a lie.
–Umberto Eco
Man with a Movie Camera, sometimes The Man with the Movie Camera, The Man with a Camera, The Man With the Kinocamera, or Living Russia (Russian: Человек с киноаппаратом, Chelovek s kino-apparatom; Ukrainian: Людина з кіноапаратом, Liudyna z kinoaparatom)) is an experimental 1929 silent documentary film by Russian director Dziga Vertov.
Dziga Vertov, or Denis Arkadevich Kaufman, was an early pioneer in documentary film-making during the late 1920s. He belonged to a movement of filmmakers known as the kinoks, or kinokis. Vertov, along with other kino artists declared it their mission to abolish all non-documentary styles of film-making. This radical approach to movie making led to a slight dismantling of film industry: the very field in which they were working. This being said, most of Vertov’s films were highly controversial, and the kinoc movement was despised by many filmmakers of the time. Vertov’s crowning achievement, Man with a Movie Camera was his response to the critics who rejected his previous film, One-Sixth Part of the World. Critics declared that Vertov’s overuse of “intertitles” was inconsistent with the code of film-making that the ‘kinos’ subscribed to.
Contemporary Project: Man With a Movie Camera: The Global Remake is a participatory video shot by people around the world who are invited to record images interpreting the original script of Vertov’s Man With A Movie Camera and upload them to this site. Software developed specifically for this project archives, sequences and streams the submissions as a film. Anyone can upload footage. When the work streams your contribution becomes part of a worldwide montage, in Vertov’s terms the “decoding of life as it is”.
SeoWoo and Her Pink Things, 2006. Image Credit: © Jeongmee Yoon
This project began with my daughter. My seven-year-old daughter loves pink. She wants to wear only pink clothes and only own pink toys and objects. My daughter is not unusual. Most other little girls in the United States and South Korea love pink clothing, accessories and toys. This phenomenon seems widespread among various ethnic groups of children regardless of their cultural backgrounds. This preference is the result of cultural influences and the power of pervasive commercial advertisements such as those for Barbie and Hello Kitty. Through advertising, customers are directed to buy blue items for boys and pink for girls. Blue has become a symbol of strength and masculinity, while pink symbolizes sweetness and femininity.
Ethan and His Blue Things, 2006 . Image Credit: © Jeongmee Yoon
To make The Pink and Blue Project series, I visited children’s rooms, where I displayed their possessions in an effort to show the viewer the extent to which children and their parents, knowingly or unknowing, are influenced by advertising and popular culture.
© Stephanie Lempert
Language of Space Series, Forsythe and Grand,
December 18, 2006, 2:10pm-2:40pm
Archival Inkjet Print, 30” x 20”; 2007
Conversation surrounds us as we travel through this city. The Language of Space Series is a series of photographs illustrating the conversations being spoken in different areas of New York. I photographed a location and recorded the conversations being spoken in that area during a certain amount of time. I then transcribed these spoken words and extracted the text from the photograph. The remaining image allows you to see the space and read parts of the conversations spoken within the space.
detail
Image Credit: Untitled, from the series Basement Performances, 2005-2006 by © Lindsay Page.
Basement Performances addresses the gap between how we perceive ourselves and how we imagine ourselves perceived by others. There is a desire to perform ourselves on our terms for an audience we control: an imagined audience. In these unseen spaces we are free to reinvent ourselves, reconnecting our inner and corporeal selves into a more desirable linkage. The performances address the private spaces hidden from those outside the boundary of ourselves and a desire to control the ways in which we are perceived. The setting of the basement is significant. It is a space of storage, of unseen corners and hidden objects. It is raw and unfinished and surrounded by shadows. To expose what occurs here is invasive and somewhat shameful and for this reason the medium of photography is an appropriate vehicle. This setting lends a tension to the performance, makes the viewer feel awkward and unwelcome as if they had glimpsed something they shouldn’t have.
Lindsay Page is a Canadian interdisciplinary artist working primarily in photography and video installation. She received her BFA from Ryerson University, Toronto (2003) and an MFA from the School of the Art Institute of Chicago (2006). Her work has been exhibited internationally and has appeared in publications including Carte Blanche (2006) and Camera Austria (Spring 2007). She is the recipient of grants and awards including the Roloff Beny Foundation France Award, Society for Photographic Education Student Award and the School of the Art Institute of Chicago’s Trustee Merit Scholarship. She gratefully acknowledges the support of the Ontario Arts Council.
Destinesia is a sound installation based on an examination of language and rituals as a means to define cultural identity. Using the “rules” of aural traditions in the process of recording and editing this piece, Destinesia look at the possibility of the “uninitiated” accessing a profound effect from a listening experience. This piece is part of a larger examination of the breaking down the structures of speech to look at the significance of its sonic elements for the listener.
October 20 – October 31, 2009
Atrium Gallery, Richmond Center
Frostic Video and Sound Art Series
more information and complete schedule: wmuvideo.wordpress.com
leave any comments on the video Blog, not here, please and thank you
Janet Cardiff & George Bures Miller
The Forty Part Motet | Musee d’art Contemporain, Montreal
Each body becomes an index of passing time. Bones shift, muscles loosen, freckles and wrinkles form, bruises appear; skin is the forum for these transitions. It may also evidence sensitivity, embarrassment, discomfort, fear, excitement, infection, health, attraction, and energy expended—reflecting vulnerability and conditions we’ve inhabited.
My own skin frequently blushes and swells. I have dermatographia, a condition in which one’s immune system exhibits hypersensitivity, via skin, that releases excessive amounts of histamine, causing capillaries to dilate and welts to appear (lasting about thirty minutes) when the skin’s surface is lightly scratched. This allows me to painlessly draw patterns and words on my skin, which I then photograph.
I also make wallpaper with photographs of my skin cut into various designs. The patterns I use range from adaptations of Greek and Etruscan vases, Medieval wall coverings, and Renaissance pottery to contemporary clothing and wallpaper found in domestic spaces. Attached to the wall or onto board, these skin designs form shifting crimson patterns embellishing the surfaces. Recently I’ve turned some of the patterns made from photographs of skin into temporary tattoos, adorning my skin with the translucent designs. These tattoo designs cover me like clothing, an intimate fashion. They also go on the wall or window after they’ve made contact with my skin, leaving traces of cells and hair, and holding a record of skin’s map. I share these designs with my surroundings.
I am investigating where one surface ends and another begins, the bloom of adornment, and how shifting exteriors reveal as they conceal.
Scuttle, 2006 – TRT 1:23 mins
Atrium Gallery, Richmond Center
17 Days Video Exhibition
more information and complete schedule: 17days.wordpress.com
leave any comments on the video Blog, not here, please and thank you
What Sound Does a Color Make? is an exhibition that explores the fusion of vision and sound in electronic media. Artists explore time-based work and manipulate sound with image, and image with sound, in videos and immersive sensory environments. The exhibit connects the recent boom of digital audiovisual art to its pre-digital roots by presenting ten contemporary works by an internationally diverse group of artists and a selection of single-channel videos from the 1970s. Heightening awareness of human perception and cognition, these works hold interest for technophiles and general audiences alike. In one of the contemporary works on view, for example, made by a group of artists that includes Scanner (a.k.a. Robin Rimbaud) and D-Fuse (Kerri Elmsly, Mike Faulkner, Matthias Kispert, and Andy Stiff), the viewer is invited to bathe in a simultaneously soothing and stimulating atmosphere of electronic music and reprocessed video imagery.
What Sound Does a Color Make? is a traveling exhibition organized and circulated by Independent Curators International (iCI), New York and curated by Kathleen Forde. The exhibition and tour are made possible, in part, by grants from The David Bermant Foundation: Color, Light, Motion; The Horace W. Goldsmith Foundation; and Institut für Auslandsbeziehungen e. V., Stuttgart; and by an in-kind donation from Philips Electronics North America.
Luigi Russolo with his assistant Ugo Piatti and their Intonarumori (noise machines)
The Art of Noise
by Luigi Russolo February 22, 2004
Luigi Russolo (1885 – 1947), Italian futurist painter and musician and inventor of the “intonarumori” expounded his musical theories in 1913 in this manifesto entitled “L’arte dei rumori” (The Art of Noises) in which he presented his ideas about the use of noises in music.
Dear Balilla Pratella, great Futurist composer,
In Rome, in the Costanzi Theatre, packed to capacity, while I was listening to the orchestral performance of your overwhelming FUTURIST MUSIC, with my Futurist friends, Marinetti, Boccioni, Carrà, Balla, Soffici, Papini and Cavacchioli, a new art came into my mind which only you can create, the Art of Noises, the logical consequence of your marvelous innovations.
Ancient life was all silence. In the nineteenth century, with the invention of the machine, Noise was born. Today, Noise triumphs and reigns supreme over the sensibility of men. For many centuries life went by in silence, or at most in muted tones. The strongest noises which interrupted this silence were not intense or prolonged or varied. If we overlook such exceptional movements as earthquakes, hurricanes, storms, avalanches and waterfalls, nature is silent.
Amidst this dearth of noises, the first sounds that man drew from a pieced reed or streched string were regarded with amazement as new and marvelous things. Primitive races attributed sound to the gods; it was considered sacred and reserved for priests, who used it to enrich the mystery of their rites. And so was born the concept of sound as a thing in itself, distinct and independent of life, and the result was music, a fantastic world superimposed on the real one, an inviolatable and sacred world. It is easy to understand how such a concept of music resulted inevitable in the hindering of its progress by comparison with the other arts. The Greeks themselves, with their musical theories calculated mathematically by Pythagoras and according to which only a few consonant intervals could be used, limited the field of music considerably, rendering harmony, of which they were unaware, impossible.
More on Theremin Vox
By assigning an intricately thorough vocabulary to describe a mundane, previously unexamined phenomenon, I mean to explore, and in a sense experiment with, the ways in which scientific classification constructs meaning and imposes order through language. In tandem with this is an interest in revealing, and thus sensitizing and complicating, viewers’ responses to a feature of their environment that is often either virtually invisible to them or an oversimplified signifier of urban decay or the perils of consumerism.
See more images and an explanation of the “system”:
http://www.strayshoppingcart.com
Kill Your Lovers, 2006 – TRT 2:37 mins
Atrium Gallery, Richmond Center
17 Days Video Exhibition
more information and complete schedule: 17days.wordpress.com
leave any comments on the video Blog, not here, please and thank you
In Dreams, 2008 – TRT 2:12 mins
Atrium Gallery, Richmond Center
17 Days Video Exhibition
more information and complete schedule: 17days.wordpress.com
leave any comments on the video Blog, not here, please and thank you
Plot Synopsis: Leonard (Guy Pearce) is an insurance investigator whose memory has been damaged following a head injury he sustained after intervening on his wife’s murder. His quality of life has been severely hampered after this event, and he can now only live a comprehendable life by tattooing notes on himself and taking pictures of things with a Polaroid camera. The movie is told in forward flashes of events that are to come that compensate for his unreliable memory, during which he has liaisons with various complex characters. Leonard badly wants revenge for his wife’s murder, but, as numerous characters explain, there may be little point if he won’t remember it in order to provide closure for him. The movie veers between these future occurrences and a telephone conversation Leonard is having in his motel room in which he compares his current state to that of a client whose claim he once dealt with.
LIFE -SIZE
I am fascinated by the fact that almost anything can be found in miniature. I’m equally intrigued by the desire to collect such tiny replicas of objects from our own material world. As a smaller scale surrogate of the original, the miniature seems to imply the existence of some kind of alternative universe where we are like gods, omnipotent and in control. For this series I photograph my friends and family interacting with miniature objects as if they are functioning, workable tools or possessions. In the darkroom I enlarge the 35mm color negative so that the previously small objects appear to approximate “normal” or “‘life-size” scale in the final photograph.
Here, gigantic adult figures invade a claustrophobic world of Lilliputian sunglasses, guns and keys, awkwardly attempting to make these under-sized objects function as if they were actual working possessions. This intersection of scales disturbs the imagined perfection of a mini-sized fantasy world. As viewers, we must rethink our point of view as our sense of natural order is called into question. Humorous and absurd narratives unfold in the process of reconciling and interpreting the relationships between large and small, adult and child, work and play, reality and illusion. These photographs draw attention to how we see. They ask the viewer to look beyond the surface and confront the betrayal of appearances. By making images that challenge our expectations, I’m exploring how photographs can be used to manipulate our perceptual experience and, as a result, shape our understanding of the world around us.
