In 1929, my grandfather was hanged for murder. It was a taboo subject in our family, and out of respect for my grandmother, nobody ever spoke of it. We believed that because my grandfather was convicted on circumstantial evidence…he had been convicted wrongly. After my grandmother’s death, I came into possession of a box that she left for me. Contained within were all my grandfather’s personal effects during his year on death row… newspapers, magazine articles about the trial, letters from lawyers, family members, and friends. It became quite clear…as I read between the lines…that he was guilty… that my grandmother knew it, and that after her death, she wanted me to know it, too. However, my work is not a study of ‘guilt’ and ‘innocence’, or even a document of the tragic history of my family. My work is about Women and Pretending. Pretending often reflects a wish, however misguided, to protect others and ensure the viability of the self as well as our relationships. Each of the women in my narrative, including the the murder victim, has been deeply affected by the legacy of secret-keeping connected to this man’s actions. I am a storyteller I have always been fascinated with multiple interpretations…double exposures…and the ambiguities that arise depending on which character is telling the story. My process begins with a collection of elements: memory…imagery…writing…objects. As I move the elements around, a visual narrative begins to take shape, signaling a new understanding of parallel stories between generations. I see the layering of paper and photographs as being similar to the way our mind organizes memory…at different depths…one over another…constantly shifting. Sometimes I feel as though I am trying to solve a puzzle with multiple solutions. In the layering and relayering…combining and recombining…telling and retelling, I finally understand that I am no longer telling the stories contained in the box. I am telling mine.
Plot Synopsis: The story is set in a world where implanted microchips can record all moments of an individual’s life. The chips are removed upon death so the images can be edited into something of a highlight reel for loved ones who want to remember the deceased. Caviezel portrays the leader of the organization that opposes this technology’s development.
The Final Cut is a film written and directed by Omar Naim, released in 2004. The cast includes Robin Williams, James Caviezel, Mira Sorvino and Genevieve Buechner. It was produced by the Canadian production company, Lions Gate Films. The film featured original music by Brian Tyler. The story takes place in an alternate reality in which every moment of people’s lives are recorded by “Zoe Implants”, so that they may be viewed by loved ones after one’s death. The plot centers on Alan Hakman (Williams), a cutter, whose job it is to edit the Zoe footage into a feature-film length piece, called a “Rememory”.
The Final Cut is about subjectivity, memory and history; posing the question, “If history is what is written and remembered, then what happens when memories are edited and rewritten?” The movie also brings up the problem of infringement of privacy, and can be seen as mirroring the loss of privacy in today’s society. The film won the award for best screenplay at the Deauville Film Festival and was nominated for best film at the Catalonian International Film Festival and Berlin International Film Festival.
Rediscovering Paik: A Chat With Smithsonian Curator John G. Hanhardt
Posted by John Anderson on Mar. 31, 2011 at 3:13 pm
Given the recent opening of an exhibition of Nam June Paik’s work at the National Gallery of Art, as well as the long-term commitment to media art the Smithsonian American Art Museum has made its Watch This! exhibition, I thought now would be a good time to talk with SAAM’s senior curator for media arts, John G. Hanhardt, about the Nam June Paik archives. SAAM acquired the archives in 2009 and plans to dedicate an exhibition to them next year. We discussed the institution’s commitment to Paik and the history of the moving image, the difficulties of presenting media art, and the upcoming show.
Washington City Paper: Since a personal relationship often springs from a professional relationship, how well did you know Paik?
John Hanhardt: I knew him very well from the early 1970s, and I was privileged to be engaged in his work and to include his work in numerous exhibitions. I traveled with him to Germany where he introduced me to many of his colleagues and friends. I would visit him and his wife, Shigeko [Kubota], in his loft and studio. We were in active personal communication and spent time together. After his stroke I visited him very shortly thereafter in the hospital, and flew down to Miami, frequently, to see him. I spent time with him regularly until the end. A lot of our conversations were about projects, because he was always working on things: whether it was developing a satellite television project, or a video tape, or a sculpture. Some of those projects were discussed because I was involved in them as a curator and some of those things we discussed were because he wanted me to know about them.
At the age of thirteen Francesca Woodman took her first self-portrait. From then, up until her untimely death in 1981, aged just 22 she produced an extraordinary body of work (some 800 photographs) acclaimed for its singularity of style and range of innovative techniques. Woodman studied at Rhode Island School of Design, from 1975 – 1979, receiving a grant to spend a year in Rome to continue her studies. Whilst there she produced an extensive body of work and had her first solo exhibition at a bookshop and gallery specializing in Surrealism and Futurism.
Since 1986, her work has been exhibited widely and has been the subject of extensive critical study in the United States and Europe. Woodman is often situated alongside her contemporaries of the late 1970s such as Ana Mendieta and Hannah Wilke, yet her work also foreshadows artists such as Cindy Sherman, Sarah Lucas, Nan Goldin and Karen Finley in their subsequent dialogues with the self and reinterpretations of the female body.
Born in 1958 in Denver, Colorado, Francesca Woodman lived and worked in New York and Italy until her death in 1981. Since 1986 her work has been exhibited widely. Significant solo presentations of Woodman’s work include Francesca Woodman at the Museum of Modern Art, San Francisco (2011-12), which subsequently toured to the Solomon R. Guggenheim Museum, New York (2012); Francesca Woodman: Retrospective at the Sala Espacio AV, Murcia, touring to SMS Contemporanea, Siena (both 2009); Francesca Woodman: Photographs at the Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York (2003) and Francesca Woodman at the Fondation Cartier pour l’Art Contemporain, Paris (1998), which subsequently toured to Kunsthal, Rotterdam, The Netherlands (1998); Centro Cultural de Belém, Lisbon, Portugal (1999); The Photographers’ Gallery, London (1999); Centro Cultural TeclaSala, L’Hospitalet, Barcelona (1999-2000); Carla Sozzani Gallery, Milan, (2001); The Douglas Hyde Gallery, Dublin (2001) and PhotoEspana, Centro Cultural Conde Duque, Madrid (2002). Woodman’s work is represented in the collections of major museums including The Metropolitan Museum of Art; The Whitney Museum of American Art; Museum of Modern Art, New York; Detroit Institute of Arts; Museum of Contemporary Art, Chicago and Tate/National Galleries of Scotland.
But I am
The series ”Dreams” by Michał Giedrojć show us moments balancing on the border of desires and reality. The artist creates his own world, he do what he want with landscapes, people and props. Photographer gives us an opportunity to chose what to believe – if it’s a reality or only imagination.
These are black & white photos of people with their individual characters and strange looks. They try to say something with their eyes, by showing signs and sending signals – which is very intriguing. I find this kind of photography very unique, special and extremely interesting.