Photography & Intermedia


R. Murray Shafer by Adriane
February 23, 2017, 12:30 pm
Filed under: Sound Art, Video Art



Marina Abramović • The Onion by Adriane
February 22, 2017, 12:30 pm
Filed under: Narrative, repost, Video Art


© Marina Abramović, The Onion, 1996 – 20:00 mins

watch excerpt

The first shot is a close up of Abramović looking upward and holding a large onion. Her fingernails are painted bright red, just like her lips. Slowly she brings the onion closer to her mouth, taking a large bite from it and beginning to chew. Her voice-over keeps repeating the following as she devours the onion: ‘I’m tired of changing planes so often, waiting in the waiting rooms, bus stations, train stations, airports. I am tired of waiting for endless passport controls. Fast shopping in shopping malls. I am tired of more career decisions: museum and gallery openings, endless receptions, standing around with a glass of plain water, pretending that I am interested in conversation. I am tired of my migraine attacks. Lonely hotel room, room service, long distance telephone calls, bad TV movies. I am tired of always falling in love with the wrong man. I am tired of being ashamed of my nose being too big, of my ass being too large, ashamed about the war in Yugoslavia. I want to go away. Somewhere so far that I’m unreachable, by telephone or fax. I want to get old, really, really old, so that nothing matters any more. I want to understand and see clearly what is behind all of us. I want not to want anymore.’

As she is complaining, Abramović is noticeably agitated by eating the raw onion. Her eyes are tearing up, her saliva is dripping out of her mouth as her lipstick is rubbed off and bits of onion layers stick to her face. Her chewing is slowing down, but she continues to take ferocious bites from the onion while the voice-over continues. In certain respects, ‘The Onion’ shows familiarities with early performances like ‘Art must be Beautiful, Artists must be Beautiful’, in which Abramović is violently brushing her hair and face while reciting the title of the piece. As the early performances revolve around mental and physical limits of pain, ‘The Onion’ resumes Marina’s dedication to idea of the inseparability of body and mind by challenging apparent limitations of physical stamina. The video is also part of the 16-channel installation ‘Video Portrait Gallery’ (Abramović 1975-2002).



Nam June Paik. Beatles Electronique (1966-69, 3 min) by Hayden
February 21, 2017, 7:06 pm
Filed under: Student Pick, Video Art

Nam June Paik. Beatles Electronique (1966-69, 3 min, b&w and color, sound)
reveals his engagement with manipulation of pop icons. Several pieces, including Electronic Fables, are examples of Paik’s early experiments with electronic image manipulation, prior to his invention of the Paik/Abe Video Synthesizer. This piece also makes use of anecdotes by John Cage, who was a major influence as well as a collaborator of Paik.



Wayne’s World Product Placement Scene – MrsBethMan by Hayden
February 21, 2017, 7:04 pm
Filed under: Appropriation



McDonald’s Culture Jam Montage -JesseZ1988 by Hayden
February 21, 2017, 6:57 pm
Filed under: Appropriation, Student Pick, Video Art

Little culture jamming I did, mocking McDonald’s and the fastfood-nation the world is becoming. I used the images from Super Size Me in another context to make a statement. Music in the second part is All That Remains – Whispers (I hear your). Enjoy



Dumfoundead – SAFE by Hayden
February 21, 2017, 2:40 pm
Filed under: Appropriation, Student Pick, Video Art

Published on May 26, 2016

Dumbfoundead “Safe” OUT NOW!
Spotify: https://goo.gl/C053DK | iTunes: https://goo.gl/lxJoW2 | Amazon: https://goo.gl/lxh5LW

After the last Academy Awards and the regular whitewashing of hollywood roles, i wrote this song and made this video to add my piece to the conversation. If you have any experiences or stories about this issue join the discussion at https://www.facebook.com/dumbfoundead/

Twitter: https://twitter.com/dumbfoundead
SoundCloud: https://soundcloud.com/dumbfoundead
Instagram: https://www.instagram.com/dumbfoundead

Wife played by Joy
Follow on instagram @s.jjiin

Lyrics:

(intro)

(you took me as safe,
that was your first mistake, who said i was safe)

(verse 1)

the other night i watched the Oscars and the roster of the only yellow men were all statues,
we a quarter of the population there’s a room of fuckin’ 1 percenters laughing at you,
fuck a bambu ceiling, guess i gotta play the villain,
ODB up at the Grammys on the mic like “Wu-Tang is for the children!”

Bruce Jenner is woman, OJ was acquitted, Kim K is a hero,
the sky is the limit any minute now they gonna let an Asian brotha’ get a lead role,
shots fired ima reload, never saw this side of Chino,
he was always quiet keeping to himself, never messed with anybody else thats the Jonathan that we know

(hook)

Seems so safe, till one day things go cray,
i swear if things don’t change, my actions can’t be blamed, (STAND UP!)

and now you gotta duck! you know you never gave a fuck!
i came to get my cut! (fuck you, pay me) you know i never gave a fuck!

(verse 2)

i aint never heard of none f y’all fools, i can do whatever every one of y’all do,
if i never get a chance you might see the homie show up on the 5 o’ clock news,
you aint never seen a yellow boy wild’n yellow boy shinin’ , sound the alarm i got news,
go ahead and pro-file em’ i aint pro-violence, shhhhh, silence is how yellow boys move,

its been the same ol’ thang, i swear the game don’t change,
what you talkin bout there aint no space, guess i gotta go and make more space,
you know I’m cool as a motherfucker chillin’ in the cut hella quiet with the loud pack,
since I’m a cool motherfucker you think everything is safe till i ask you where the safe at!

(hook)

Seems so safe, till one day things go cray,
i swear if things don’t change, my actions can’t be blamed, (STAND UP!)

and now you gotta duck! you know you never gave a fuck!
i came to get my cut! (fuck you, pay me) you know i never gave a fuck!

(outro)

(you took me as safe,
that was your first mistake, who said i was safe)

Music Production:
Harley Mac
https://soundcloud.com/harleymac
https://twitter.com/harlesmac
https://www.facebook.com/yoHarles/?re…
https://www.instagram.com/harlesmac/

King Kanobby

https://soundcloud.com/king-kanobby
https://twitter.com/kingkanobby
https://www.facebook.com/KingKanobby
https://www.instagram.com/kanobby/

Additional Vocals: Liphemra
https://soundcloud.com/liphemra
https://twitter.com/liphemra
https://www.instagram.com/liphemra/
https://www.facebook.com/Liphemra

A PROPER FORM PRODUCTION & TRANSPARENT AGENCY PRESENTATION

Produced By: Daniel Park
Produced by: Denny Kim & Kirby Lee
Executive Producer: Jonathan Park
Make Up & Hair By: Dill Lopez & Jasmine Chang
Edited By: Alex Oh & Mr. Sparky
Grip By: Alex Kim
Art Squad: Andrew Yi, Andrew Choi, Jiwon, Rebecca Yoon
Cinematography By: Hollywood
Visual Effects: Alex Oh
Directed By: Jay Ahn

Filmed at Thunder Studios in Long Beach, California



Gary Hill Mediations, 1986 by Adriane
February 21, 2017, 12:30 pm
Filed under: Narrative, repost, Video Art

gary-hill

http://vimeo.com/5596880

“The beginning of a remake of an earlier work [Soundings, 1979] in which I wanted to extend the reflexivity of each text in relation to the interaction between different physical substances—in this case, sand—and the speaker cone. A loudspeaker fills the screen and I begin to speak, referring to the speaker itself. This is followed by more declarations of what I am doing, ‘…a hand enters the picture….’ A hand filled with sand enters the picture and slowly releases it into the loudspeaker’s cone. Every nuance of speech vibrates the speaker’s cone (or membrane), bouncing the grains of sand into the air. The more I speak about what is happening, the more it changes—or feeds back into—the movement and patterns of the sand. At times the grain of the voice seemingly merges with what is experienced as ‘sand.’ The hand allows more and more sand to trickle onto the loudspeaker until the cone is no longer visible. The timbre of the voice crackles and is radically muffled. When the speaker is completely buried, the voice sounds distant but remarkably clear.” – Gary Hill