‘what are you making your way out of?
maybe skin, maybe shadow.’
Featuring Annina Chirade | @anninachirade
Written and Directed by Amaal Said | @amaalsaid
A poem by Paula Bohince, adapted by Thibault Debaveye for Motionpoems. motionpoems.org
Directed by: THIBAULT DEBAVEYE
Poem by: PAULA BOHINCE
Executive Producer: TODD BOSS, AMANDA MILLER, and EGG CREATIVE
Executive Producer: THIBAULT DEBAVEYE
Line-Producer: BILLIE ALEMAN
Director of Photography: MICHAEL MERRIMAN
1st AC: SETH PASCHENSKY
2nd AC: JUSTIN OWENSBY
PA: ALEX WILSON
Editor: SCOTT BUTZER
Colorist: RICKY GAUSIS
Music Composer: JUSTIN MELLAND
Audio Mix: ERIC RYAN
Driver: OSCAR THOMAS
Swimmer: KERSTIN JOHN
Girl in the shower: JONI KEMPNER
Sleeper: JENS KULL
Microwave man: PONTUS WILLFORS
Girl at the window: NORA RIEGELS
Paper Magazine Face: NICHOLAS LAFOND
Voice Over: JOHN W. GOODMAN, JEANNIE E. ROBERTS, LOUIS MURPHY, AMY MILLER, JEN JABAILY BLACKBURN, VERONICA SUAREZ, CARRIE SIMPSON, MICHELLE MEYER, JULIET PATTERSON, WILL CAMPBELL, CLARE MCWILLIAMS
RADIANT IMAGES – PERSUADE
FINAL CUT LA – SUZY RAMIREZ
MPC LA – SUMMER MCCLOSKEY – ELEXIS STEARN
ERIC FAWCETT – SAARA MYRENE RAAPPANA
MARINA DEL REY YC
“A Day at the Mall Reminds Me of America,” a poem by Sarah Blake adapted by Ayse Altinok
Screen Test 3 Edie Sedgwick
In August 1962, Andy Warhol (American, 1928–1987) began making silkscreen paintings of popular icons, including a series of images of Marilyn Monroe that he began a month after her death. He went on to experiment in portrait making with public photo booth machines, which automatically take four exposures several seconds apart and print them in a strip, like a sequence of film frames.
Combining the seriality of these silkscreen and photo booth portraits with the ephemeral quality of the filmed image, between 1964 and 1966 Warhol shot approximately 500 rolls of film: several-minute silent portraits of acquaintances, friends, and celebrities, including many of the artists musicians, poets, actors, models, playwrights, curators, collectors, critics, and gallerists who composed New York City’s avant-garde scene. Some subjects were invited to the artist’s East 47th Street studio, known as The Factory or The Silver Factory, to sit for their portraits; others were captured spontaneously. At times Warhol left his subjects alone with the camera, creating a heightened sense of vulnerability that is perceptible in the films. His first subjects, seated before a sterile backdrop, were asked not to move or speak (later portraits were shot under more flexible conditions). These films, known as “stillies” around the Factory, were also referred to by Warhol as Living Portrait Boxes, and, later, as Screen Tests.
Warhol shot the portraits at the standard speed for sound film (24 frames per second), but specified that they should be projected at a 16 frames per second, the conventional projection speed for silent films in the early period of cinema. The result is an unusually slow fluidity of pace, a rhythm gently at odds with the large-scale close-ups, which are rendered almost abstract by stark contrasts of light and shadow. The images, still yet moving, play in a continuous loop, bearing a timeless presence.
“I have stolen everything” is a poem excerpted from The Lovers and the Leavers, a book of linked stories, photographs, and poems by Abeer Hoque (HarperCollins India 2015). See more at olivewitch.com
words & voice: Abeer Hoque
camera & editing: Josh Steinbauer
music: Dragon Turtle, “Starliner” (Distances, Oscillating Color, 2014) Dragonturtlemusic.com
purchase Dragon Turtle’s “Distances” here: oscillatingcolor.bandcamp.com/album/distances
geek notes: shot on GH4, lumix 20mm/f1.7 and lumix 7-14mm/f4
Image Credit: Undergrowth (2006) Robert & Shana ParkeHarrison
Much has been written about Robert & Shana ParkeHarrison, the husband and wife team whose sepia toned photographic tableaus took the art world by storm more than eight years ago. In their new work, which introduces color into the palette, the ParkeHarrisons continue to immerse themselves in myth, rituals, and the relationship between man (and new to the work, a young female), nature and technology.
ParkeHarrison came of age in a United States newly altered by environmental awareness, which encouraged personal and cultural commentary by artists of all media. Trained as a photographer, ParkeHarrison did not follow in the well-practiced wake of environmentally charged photojournalists or social documentary photographers, whose cautionary tales were fixed in the present day and did not project a future. Instead, ParkeHarrison conjured a destiny in which humankind’s overuse of the land had led to environments spent and abandoned, with the exception of one indefatigable spirit (portrayed by ParkeHarrison himself). Donning the ill-fitting suit of the Everyman, ParkeHarrison is the earthbound relation to the Creator-the Architect’s Brother-complete with human foibles. With lyric poeticism and wry humor, he is the romantic anti-hero, taking up tasks of preservation that appear futile, yet also lay the foundation for the potential redemption of the natural world. Placing himself within the images, ParkeHarrison attempts to patch holes in the sky, construct rain-making machines, and chase storms to create electricity.
Robert ParkeHarrison: The Architect’s Brother is divided into five different sections: “Exhausted Globe,” “Industrial Landscapes,” “Promisedland,” “Earth Elegies,” and “Kingdom.” The exhibition draws its title from ParkeHarrison’s book of the same name, voted One of the 10 Best Photography Books of the Year in 2000 by The New York Times.
ParkeHarrison’s inspirations include Thomas Edison, Leonardo da Vinci, and George Orwell, as well as personalities from theater and cinema. Each ParkeHarrison photograph-which takes roughly five weeks to create-starts with notes and drawings made in a sketchbook, as well as library research. He then builds the set and the props and photographs a carefully staged image. An assortment of original sketches and actual props will be on display in the Process Gallery, a hands-on learning space designed by DeCordova’s Education Department.
ParkeHarrison is represented by the Bonni Benrubi Gallery in New York City. He resides in Great Barrington and teaches photography at the College of the Holy Cross in Worcester, both in Massachusetts. He earned his bachelor’s degree from Kansas City Art Institute, where he met his wife and artistic collaborator, Shana. ParkeHarrison earned his MFA in photography from the University of New Mexico, where he was inspired by Native American cultures and myths. As his creative partner, Shana is involved in the conception and execution of her husband’s images, which are created using both traditional and non-traditional photographic processes.
This traveling exhibition of over forty works is organized by George Eastman House International Museum of Photography and Film with support from the Bulrush Foundation. The DeCordova presentation is supported by funding from the Lois and Richard England Family Foundation. The exhibition is accompanied by the 136-page book, Robert ParkeHarrison: The Architect’s Brother, published by Twin Palms Publishers.
– from the Press Room of the DeCordova Museum and Sculpture Park.
Skarbakka’s statement about this body of work:
Philospher Martin Heidegger described human existence as a process of perpetual falling, stating that it is the responsibility of each individual to “catch ourself” from our won uncertainty. My work is in response to this delicate state. It questions what it means to resist the struggle, to simply let go, and the consequences of holding on. The images stand as reminders that we are all vulnerable to losing our footing and grasp, symbolizing the precarious balancing act between the struggle against our desire to survive and our fantasy to transcend our humanness.
This photographic work is in response to this delicate state. It comprises a culmination of thought and emotion, a tying together of the threads of everything I perceive life has come to represent. It is my understanding and my perspective, which relies on the shifting human conditions of the world that we inhabit. It’s exploration resides in the sublime metaphorical space from where balance has been disrupted to the definitive point of no return. It asks the question of what it means to resist the struggle, to simply let go. Or what are the consequences of holding on?
… Conflicts between reason and belief are n ot new but never have they been held in such dramatic constrast as they have in the genomic age. The situation, such as it is, provides fertile ground for the artist and it is why I pursue the project with such urgency.
The entry point into my work is the idea of optical illusion as metaphor. I produce a different type of conceptual still life – one in the manner of a science demonstration or imaginary physics experiment. To accomplish this ….
For More Images and Full Statement:
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.
Pati Hill, “Alphabet of Common Objects” (c. 1975–79), 45 black and white copier prints, each 11 x 8.5 inches (image courtesy Estate of Pati Hill)
The Personal and Poetic Prints of a Female Pioneer of Copier Art
April 20, 2016
GLENSIDE, Pa. — Last weekend, I made the short drive from Philadelphia to Arcadia University, about a half-hour outside the city. A friend had highly recommended an exhibition on view at Arcadia University, Pati Hill: Photocopier, A Survey of Prints and Books (1974–83). I was not particularly excited to see a show of copier art. How different could the images of these photocopies be from the actual copies themselves? As I drove out to see it, I could not suppress the clichés of regrettable high school art projects, misconstrued collages, silly zines, and ubiquitous hands, faces, and ass cheeks pushed up onto Xerox machines.
Stepping into the gallery, I gazed at the show, curated by Richard Torchia, as it presented grids, lines, and vitrines bursting full of Pati Hill’s delicate, remarkable images, all made on the rather unremarkable IBM Copier II. My cynicism was obliterated. I felt a stunning empathy for these images of daily life, laid bare on the cold, smooth glass of a hulking electronic machine, contextualized by snippets of writing that dipped in and out of memory, metaphor, wit, and the kinds of fleeting thoughts one thinks but never utters aloud.
Installation view of ‘Pati Hill: Photocopier, A Survey of Prints and Books (1974–83)’ at Arcadia University Art Gallery (image courtesy Greenhouse Media)
The perfect everydayness — the absolute banality of the objects Pati Hill copied — creates its own meaning. Each object glimmers and sinks into the darkness of the black pigment that surrounds it like a drawing in the most luscious charcoal. The sheets are all 8 ½ x11 inches, standard copy paper size, but the fragility of the medium struck me as stubborn, poignant, utterly unpretentious. A successful novelist and model in the 1950s, Hill’s artistic production grinded to a halt when she married her third husband, New York gallerist Paul Bianchini, had a child, and became a self-described housewife. As she fell into the role of wife and mother, a 10-year hiatus of her creative practice ensued. In the 1960s, however, she emerged from her hiatus to become a visual artist, in addition to a writer.
Phoebe Rudomino. Still from Johnson & Johnson’s ‘Imagine’ Total Hydration body wash TV commercial, HomeCorp. 2006, C-print, 164.34 x 110 cm
Phoebe Rudomino is a commercial diver and underwater photographer based at the Underwater Stage at Pinewood Studios, the only facility of its kind in the world. She specialises in behind-the-scenes underwater stills and video for feature films, TV and commercials. This photograph was taken during a shoot for a commercial and was part of ’Water on the Lens’, an exhibition of underwater set photographs taken at Pinewood which took place at County Hall on London’s Southbank in 2009.
Cabinet cards are early photos from 1900 or so. Each photo is hand painted with acrylic paint to create a whole new image. In 2014, 100 images were painted and featured in a show called “Meet the family” by Colin Batty at the Peculiarium in Portland Oregon. The show was then turned into a book of the 100 images by the same name.
The fun comes from the challenge of creating an illusion that perhaps elicits a double take by the viewer. Taking something lost to history, such as a faded and aged boring photo 100 years old or older, a dull image, the average person wouldn’t really even glance at, and then to be able to revitalize it and add absurd elements to create a true amalgam of the past and the future is gratifying. Taking something banal and adding unusual elements to create a 3rd version is a pleasing activity to perform and is recommended.
Michelangelo, an unseen schoolboy armed only with a cell phone camera, goes behind the scenes at a New York fashion show during seven days in which an accident on the catwalk turns into a murder investigation, and his interviews with key players become a bitterly funny expose of an industry in crisis.
Fourteen actors, both celebrated stars and exciting emerging talents, play characters who each have a role in the fashion show: from the designer (Simon Abkarian) and his models (supermodel Lily Cole and Jude Law, stunning in drag), the toxic fashion critic (Academy Award winner Judi Dench) the desperate war photographer turned paparazzo (Steve Buscemi), the fashion house financier (Eddie Izzard) and his bodyguard (John Leguizamo). As they confide in Michelangelo, personal secrets are revealed and the reality of events taking place off screen begins to unravel.
RAGE is the new cinematic creation from Sally Potter, director of the Oscar-nominated ORLANDO. Defying the usual conventions of film, RAGE focuses entirely on the individual performances of its world-class cast.
Princeton University senior Wendy Li is pursuing a certificate in visual arts in the Lewis Center for the Arts, and her senior thesis show, “Self-Preservation,” explored the role of photographs in discovering one’s identity and creating memories. (Video by Danielle Alio, Office of Communications)
‘The Mugshot Series’ Reverses Ugly Stereotypes Of Black Men
Artist EJ Brown is fed up with the media perpetuating damaging and destructive stereotypes of black men.
Specifically, the 25-year-old Point Park University graduate feels frustrated when the media places blame on black victims of police killings and refers to these men as thugs and criminals.
To combat those frequent misrepresentations, Brown created a powerful photo series that flips the narrative on its head.
The photo project is titled “The Mugshot Series,” and it includes seven black-and-white images of young black men dressed in cap and gown holding plaques that indicate their names, ages and academic majors. The project is part of a larger campaign Brown launched called “A Perception of Complexion.”
The striking photos mimic the style of criminal mugshots in order to juxtapose commonly-seen negative images of black men with more positive portraits that are rarely recognized. Brown hopes that mixture will deconstruct ugly stereotypes associated with black men and boys.
“We’re not condoning violence, or gang activity or criminality, we’re just bringing to light these negative perceptions and how we feel about them,” Brown told The Huffington Post. “I’m about spreading peace, love and understanding.”
A conversation with Robert Ernst Marx in his studio. Makers and Mentors (Feb. 3 – March 18, 2012) at Rochester Contemporary Art Center (RoCo) featured new work by Robert Ernst Marx and his former students Ron Pokrasso and David Bumbeck. The interview was lead by Melissa McGrain, a longtime friend of Marx, and Bleu Cease, Executive Director/Curator of RoCo. Videography and editing by Ben Gonyo.
The surreal world of Pablo Bartholomew
By Paramita Ghosh
September 9th, 2016
For 29 years, a box full of Kodachrome slidesheets from an old assignment lay unopened in photojournalist Pablo Bartholomew’s apartment. By the time he remembered them, they had been disfigured by time and termites. Re-examining the slidesheets, he looked at the decay he held in his hands, and put his energy to curate it as a work that had survived the kiss of death.
Pablo Bartholomew’s photography has always been singular for the sensibility he brought to documentary photography and photojournalism. He captured the first free-thinking generation, post Independence, of the 70s and 80s without dropping heavy visual clues. Bell bottoms, beads and clouds of cigarette smoke were only incidental to his moody and unabashed black-and-white frames capturing his own milieu at the time of its turn.
In 1985, Bartholomew had gone to Bangladesh on a National Geographic assignment to capture the building of the Feni River Dam. Fifteen thousand people had been employed to close the mouth of the river in order to control its flooding and create a freshwater reservoir for irrigation. When he re-opened the boxes, he found the colours had morphed into each other; blobs and irregular geometric shapes encircled the people he had shot. In ‘Memento Mori,’ (Remembering the Dead), Bartholomew’s new exhibition, the surviving images are images in their own right, says the artist. They point to a reality that all human endeavour undergo. Not all our work, memories and relationships will live. Some might, some won’t.
“At the Dhaka Art Summit (February, 2016), I was surprised to come across the work and know that it was Pablo’s who is known for his black-and-whites,” says artist and gallerist Peter Nagy of Nature Morte. “Some of the images were almost biblical — they had the look of things that had been excavated from the past.” At Dhaka, the work was at a preliminary stage.
Li Gang was born in Beijing in 1967. Most of his professional artistic training occurred in the cities of Perth and Melbourne, Australia, where he attended the Claremont School of Art and the Victorian College of the Arts. After his schooling, Li Gang returned to Beijing to work. Though he was trained in painting, his work moves fluidly across all media—painting, photography, sculpture, video, and installation. His work addresses the rapid changes occurring in his hometown of Beijing as high rises replace hutongs, cars replace bicycles, and the city expands tirelessly. Like many others, Li Gang has watched his beloved Beijing face many problems as it transforms, and his art helps to expose the environmental and social repercussions of this expansion. In response, his work seeks “to express the condition of people living amidst the tremendous change in contemporary life: over-stimulation, the uncertainty of the future, inter-personal conflict, and the conflicts between man and himself, the soul and the physical body, man and his environment, and the material and the spiritual.” His work has been shown across China, Australia, and parts of Europe, including the Monash Gallery of Art, 798’s Red Gate Gallery, Color Elefante Gallery, and the Chinese European Art Center. In addition to shows, Li Gang has been invited to be an artist in residence in Korea, Spain, and Austria. Li Gang’s work can be found in collections across China, Australia, Norway, Sweden, Belgium, the USA, Malaysia, Korea, France, Italy, and Spain.
Mel Bochner [born 1940] is recognized as one of the leading figures in the development of Conceptual art in New York in the 1960s and 1970s. Emerging at a time when painting was increasingly discussed as outmoded, Bochner became part of a new generation of artists which also included Eva Hesse, Donald Judd, and Robert Smithson – artists who, like Bochner, were looking at ways of breaking with Abstract Expressionism and traditional compositional devices. His pioneering introduction of the use of language in the visual, led Harvard University art historian Benjamin Buchloh to describe his 1966 Working Drawings as ‘probably the first truly conceptual exhibition.’
Bochner came of age during the second half of the 1960s, a moment of radical change both in society at large as well as in art. While painting slowly lost its preeminent position in modern art, language moved from talking about art to becoming part of art itself. Bochner has consistently probed the conventions of both painting and of language, the way we construct and understand them, and the way they relate to one another to make us more attentive to the unspoken codes that underpin our engagement with the world.
– Mel Bochner: If The Color Changes