SiCKO is more like a controlled howl of protest than a documentary. Toning down the rhetoric of past efforts–no CEOs, congressmen, or celebrities were accosted in the making of this film–Michael Moore’s latest provocation is just as heartfelt, if not more heartbreaking. As he clarifies from the outset, his subject isn’t the 45 million Americans without insurance, but those whose coverage has failed to meet their needs. He starts by speaking with patients who’ve been denied life-saving procedures, like chemotherapy, for the most spurious of reasons. Then he travels to Canada, England, and France to see if socialized medicine is as inefficient as U.S. politicians like to claim–especially those who receive funding from pharmaceutical companies. Moore finds quality care available to all, regardless as to income. He concludes with a stunt that made headlines when he assembles a group of 9/11 rescue workers suffering from a variety of afflictions. When Moore is informed that detainees at Guantánamo Bay–technically American soil–qualify for universal coverage, he and his companions travel to Cuba to get in on that action. It’s a typically grandstanding move on Moore’s part. And it proves remarkably effective when these altruistic individuals, who’ve either been denied treatment or forced to pay outrageous costs for their medication, experience a dramatically different system. Nine years in the making, SiCKO makes a persuasive case that it’s time for America to catch up with the rest of the world. –Kathleen C. Fennessy (Amazon.com)
Anyone graduating in Fall Semester of 2009 needs to fill out a contract (signed by their committee sponsor) for exhibition opportunities in the DeVries Student gallery.
Exhibitions will be holding a lottery for dates immediately following Spring Break, and will need to know all the names of students who will be doing their shows next Fall.
do this ASAP.
10 Short Performance Films: 1997 – 2000. A series of ten thematically related film works entitled Enlightened Nonsense. These works were produced within a similar framework and the same minimal resources. The films were shot, hand-processed and edited within a total of approximately one week. Like a week long performance, self imposed limitations, a concentration of time and the intensity of the production framework are elements conducive to and in keeping with the subject matter.
KALAMAZOO–Miller Auditorium at Western Michigan University will be open Tuesday, Jan. 20, from 11 a.m. to 2 p.m. for viewing live PBS coverage of the inauguration of Barack Obama as 44th president of the United States. The event is open to the public free of charge, and no tickets or reservations are needed.
Preliminary activities for the inauguration begin at 10 a.m., and the inaugural ceremony is scheduled to begin at 11:30 a.m. The new president will take the oath of office at noon, after which, he will deliver his inaugural address.
****** It is the first time that an official presidential portrait was taken with a digital camera.
Unprojectable: an audiovisual feast by Tony Conrad
American artist Tony Conrad employs a battery of amplified strings, film projectors, electric drills and assorted machinery to create a high-octane sonic assault. Unprojectable: Projection and Perspective is a live performance conceived specially for the Turbine Hall at Tate Modern. The musicians and their unorthodox instruments are visible to the audience only as projections cast onto giant screens. TateShots was there to capture this one-off experience. more
Performed at UBS Openings: Saturday Live, 14 June 2008
TateShots presents a selection of short videos each month, with a focus on modern and contemporary art at Tate Modern – International modern and contemporary art.
Product Description/ Amazon.com
Just a few decades ago, owing more money than you had in your bank account was the exception, not the rule. Yet, in the last 10 years, consumer debt has doubled and, for the first time, Americans are spending more than they’re saving — or making. This April, award-winning former ABC News and CNN producer Danny Schechter investigates America’s mounting debt crisis in his latest hard-hitting expose, IN DEBT WE TRUST.
While many Americans are “maxing out” on credit cards, there is a much deeper story: power is shifting into fewer hands…with frightening consequences. IN DEBT WE TRUST reveals a hitherto unknown cabal of credit card companies, lobbyists, media conglomerates and the Bush administration itself, which has colluded to deregulate the lending industry, ensuring that a culture of credit dependency can flourish. In the film, Schechter exposes the mechanisms and machinations behind the hidden financial and political complex that allows even the lowest wage earners to indebt themselves so heavily that house repossessions have become commonplace. One expert in the film goes so far as to dub this “21st-century serfdom.”
Inspired by scholar Robert Manning – one of the films’ key advisers’ – and his seminal book “Credit Card Nation”, IN DEBT WE TRUST showcases his insights about the impact of debt on young people and our society. It also suggests the kinds of practical efforts needed to empower the public with information to avoid the traps of debt dependency.
The whole world depends on the economic stability of the United States. Yet, as its national and consumer debt escalates, our interconnected global economy is at incredible risk. IN DEBT WE TRUST, as timely and relevant as a film can be, delivers an urgent warning that can’t be ignored.
Lecture: Thursday, January 8, 2009
RCVA #2008, 5:30 pm
John Carson joined Carnegie Mellon University in Pittsburgh as Head of the School of Art in 2006. He was previously at Central Saint Martins College of Art and Design in London, where he was a principal lecturer in fine art and course director for the bachelor of fine arts program. He was also a lecturer in fine art and photography at the National College of Art & Design in Dublin and a visiting artist and lecturer at various schools and colleges in Britain, Ireland, Europe, the United States, Australia and New Zealand. Carson is an arts consultant for various organizations, including BBC-TV; Public Art Development Trust; Arts Council of England; London Arts; and others. He is an accomplished writer in the field of multimedia art, and his writing has appeared in various catalogues, magazines and books around the world. Carson is also a practicing multimedia artist. He received his bachelor of fine arts from the University of Ulster at Belfast in 1976 and his master’s degree in fine arts at the California Institute of the Arts in 1983.
During Carson’s final year at the College of Art and Design in Belfast, he worked on a number of projects that explored geographical and social aspects of the Belfast and Carrickfergus area, where he grew up. This project took Carson out of the art school building and into the streets, the countryside, and peoples’ homes. In Friend Map (1975-77) Carson visited everyone in the area who was a friend or relation, photographed them in their homes and placed the photographs on a map in the appropriate location.
Reflecting on his Friend Map project of 1975-76, Carson realized that none of the people who participated in that work had been given any voice in the work. Consequently he decided to revisit the project some 30 years later and began a series of video interviews with the people from the Friend Map who he had managed to track down again. Carson has asked each of them a set of questions to prompt them to reflect on their lives over the last 30 years and to consider how the reality of their lives today compares to any aspirations they might have had in 1976-77. Carson also hoped to discover how political events in Northern Ireland might have influenced their lives.
Albertine Monroe Brown Gallery
January 8 – February 07, 2009
Jenna Caschera; Uncanny | The Act of Intimacy | Silver Print | 15″ x 15″ | 2006-8
Opening 1/9/09 from 6 – 8 pm
229 E. Michigan Ave, Suite 335
This documentary charts the spectacular rise of corporations as a dramatic, pervasive presence in our lives. Filmmakers Mark Achbar and Jennifer Abbott present a timely, entertaining critique of global conglomerates as they chronicle the origins of corporations, as well as their inner workings, controversial impacts and possible futures. The pros and cons are weighed via interviews with social critics such as Noam Chomsky and Michael Moore.
1/5 – 1/21/2009
Atrium Gallery – Richmond Center
Frostic Video and Sound Art Series
This video highlights the work of Western New York area media and sound artists interested in composition and new methods of collaboration. This is a witness to the development of original sound and image works that are collaborative and improvised, trustful and open to new ways of working between media and sound artists.
Twelve media artists were invited to produce an original, silent (or near silent) short film or video piece to be “read” as a graphic score by variations of performers from The Open Music Ensemble. Live recordings and performances of the scores in sound are paired with visual works, developed especially for this exhibition, now video. A live concert of selected works was originally performed on September 23, 2005.
Featured media artists include: Dorothea Braemer, Elliot Caplan, Stephanie Gray, Siew-wai Kok, Carl Lee, Brian Milbrand, Vince Mistretta, Jan Nagle, Alan Rhodes, Kelly Spivey, Carolyn Tennant and Stephen Vitiello.
Participating musicians include: Steve Baczkowski (horns), J.T Rinker (trombone), Josh DeScherer (bass), Ben Harris (violin), Leah Muir (cello), Otto Muller (accordian), Chris Reba (bass), Will Redman (percussion), Bill Sack (electric guitar), Andrew Walsh (contrabass) and Todd Whitman (horns and various alternative noise makers).
The Open Music Ensemble is a collective of over a dozen Buffalo-based musicians affiliated with The Open Music Foundation, a not-for-profit organization for composers and artists dedicated to the promotion of artistic expression based on unconventional, experimental, open-form, and — especially — graphical, forms of communicating musical ideas. For more information, visit http://www.openmusic.us
A second version of this project was commissioned by Hallwalls in Buffalo NY in the spring of 2008.
Joanna Raczynska and Will Redman, curators
more information and complete schedule: wmuvideo.wordpress.com
leave any comments on the video Blog, not here, please and thank you