Photography & Intermedia

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: | iTunes: | Amazon:

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


Wife played by Joy
Follow on instagram @s.jjiin



(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


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!


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!


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

Music Production:
Harley Mac…

King Kanobby

Additional Vocals: Liphemra


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

Jillian McDonald by Adriane
January 30, 2017, 4:30 pm
Filed under: Appropriation, repost, Video Art

Jillian McDonald is a Canadian artist who lives in Brooklyn and dreams of the North.

Solo shows and projects include the Esker Foundation in Calgary, Air Circulation and Moti Hasson in New York, The San Francisco Arts Commission Gallery, Centre Clark in Montréal, and Hallwalls in Buffalo. Her work was featured in group exhibitions and festivals at The Chelsea Museum and The Whitney Museum’s Artport in New York, The Edith Russ Haus for Media Art in Germany, The International Biennial of Contemporary Art in Venezuela, The Sundance Film Festival in Utah, La Biennale de Montréal, and the Centre d’Art Contemporain de Basse-Normandie in France.

She was featured in a 2013 radio documentary by Paul Kennedy on CBC’s IDEAS, and reviewed in The New York Times, Art Papers, The Globe and Mail, The Toronto Star, Border Crossings, and Canadian Art. Critical discussion appears in books including The Transatlantic Zombie (2015), by Sarah Juliet Lauro and Deconstructing Brad Pitt (2014), edited by Christopher Schaberg.

McDonald has received grants and commissions from The New York Foundation for the Arts, The Canada Council for the Arts, Turbulence, The Verizon Foundation, The New York State Council on the Arts, The Experimental Television Center, and Pace University. In 2012 she received the Glenfiddich Canadian Art Prize, and she has attended residencies at The Headlands Center for the Arts in California, Lilith Performance Studio in Sweden, The Lower Manhattan Cultural Council’s Workspace in New York, and Banff Centre for the Arts in Alberta. In 2016 she is in residence at the Lower Manhattan Cultural Council’s Process Space on Governor’s Island, NYC; the Klondike Institue of Arts and Culture in Dawson City, The Yukon; and at Plug In ICA’s Summer Institute in Winnipeg, Manitoba.

Aleksandra Mir by Adriane
January 27, 2017, 4:30 pm
Filed under: Appropriation, Photography, Video Art


“Why are we here?” … The answer may lie in convergence. Technology may have to wait for the power of the human brain to fully develop its (super)natural abilities. Will the technologies that are then produced be miraculous in that they may not require material substance to work but a faith, a belief in laws of physics so subtle than matter itself cannot withstand their logic? Will they be based in technology so discreet that it will be indistinguishable from the very fabric of the universe and all that is created within it? When we look at science and religion, are we looking at the same technology at different levels of evolution? …

Aim at the Stars, composition of 23 paper collages on board with gold leaf frames, 200 x 390 cm, 2009




Aimez-vous, Paper collage on board with gold leaf frame, 52 x 39 cm, 2009


Juice, Paper collage on board with gold leaf frame, 52 x 39 cm, 2009

Mamma e bimbo, Paper collage on board with gold leaf frame, 43 x 34 cm, 2009



Aleksandra Mir (b. 1967) develops projects that take her around the world to examine the dynamics of popular cultural myths and historical events. In The Seduction of Galileo Galilei (2011), Mir engages in a dialogue with the seventeenth-century Italian “father of modern science,” in a new video work that documents a collaborative, Galileo-inspired gravitational experiment. A selection of collages from Mir’s series The Dream and the Promise (2008–2009) will accompany the video installation. These works, which combine religious iconography with images and symbols of space travel, allude to the complicated, and not always contentious, relationship between science and faith.

Aleksandra Mir was born in Lublin, Poland, in 1967, and is a dual citizen of Sweden and the United States. She received her BFA at the School for Visual Arts, New York in 1992, and from 1994 to 1996 studied Cultural Anthropology at the New School for Social Research, New York. Mir currently lives and works in London, England. Since 1995 her work has been shown in numerous solo and group exhibitions in the United States and Europe, including the Venice Biennale (2009) and the Whitney Biennial (2004). Her work is included in important public collections such as the Tate Modern, London and Kunsthaus Zürich, as well as the Whitney Museum of American Art, New York.

Johan Grimonprez: Double Take by Adriane
January 26, 2017, 4:30 pm
Filed under: Appropriation, Video Art

Dir: Johan Grimonprez
Country: Belgium/Germany/Netherlands
Year: 2009
Duration: 80mins
Official Selection: Sundance
Official Selection: Berlin
Official Selection: IDFA

Johan Grimonprez’s Double Take looks at events around Alfred Hitchcock’s 1962 classic The Birds. Hitchcock, famous for cameos in his own works and his pranks, is rumoured to have come second in a Hitchcock look-a-like contest.

Obsessed with the double throughout his work, Hitch met his doppelganger (or was it his future self?) on the set of The Birds, and as Hitchcock or possibly a skilled impersonator states: “if you ever meet your doppelganger, you’re supposed to kill him, or he’s supposed to kill you.”
While Alfred Hitchcock’s presence defines this wonderful movie, the film also examines the very nature of filmmaking and television, Cold War politics, coffee adverts and the early years of the space race.
A more than worthy successor to Grimonprez’s Dial H-I-S-T-O-R-Y, Double Take shifts from documentary to essay to speculation, capturing the essential stylistic pleasures of Hitchcock’s works: the MacGuffin, mistaken identity, and the chase. Absolutely essential viewing.

“Double Take”
written and directed by Johan Grimonprez
© Zapomatik, 2009


How do you do? My name is Alfred Hitchcock and I would like to tell you about my forthcoming lecture. It is about the birds and their age-long relationship with man.

There is something new in the heavens. Something that has never been there before.

Until two days ago, that sound had never been heard on this earth.

Suddenly it has become as much part of 20th century life as the whirr of your vacuum cleaner.

It’s a report from man’s farthest frontier: the radio signal transmitted by the Soviet’s Sputnik, the first man made satellite as it passed over New York earlier today.

(translated from Russian)
A new moon born of our earth: Sputnik!

There are some instances where you may be ahead of us, for example in the development of your rockets for the investigation of outer space. There may be some instances, for example color television, where we are ahead of you.

And here it is! Seven function remote controlled color television. So beautiful it enhances any décor!

But in order for both of us… , for both of us to benefit… , for both of us to benefit….(laughs). You see, you never concede anything!

(addresses Nixon in Russian; taken over by translator)

In what are they ahead of us? Wrong! Wrong!

The competition for leadership in space, the race run by rockets, where is the finish line? Do we end up in a nuclear war? Or do we try to live with the constant fear of one?

(addresses Nixon in Russian; taken over by translator)

I share the enthusiasm of Soviet engineers about the cleverness of the American people, but we too, as you know, don’t kill flies with our nostrils. For forty-two years we’ve gone ahead and when we shall overtake you at the crossroads we shall wave at you.

It took the Soviets four years to catch up with the atomic bomb. It took the Soviets nine months to catch up with the hydrogen bomb. And now, tonight, the communists have established a foothold in outer space.

Info :
Film & Animation
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SVA MFA Fine Arts Department // Spring 2015 Lecture Series
Johan Grimonprez // January 31st, 2015

Vicki Bennett: 4’33 The Movie by Adriane
January 25, 2017, 4:30 pm
Filed under: Appropriation, Video Art

Since 1991 British artist Vicki Bennett has been working across the field of audio-visual collage, and is recognised as an influential and pioneering figure in the still growing area of sampling, appropriation and cutting up of found footage and archives. Working under the name People Like Us, Vicki specialises in the manipulation and reworking of original sources from both the experimental and popular worlds of music, film and radio. People Like Us believe in open access to archives for creative use. In 2006 she was the first artist to be given unrestricted access to the entire BBC Archive. People Like Us have previously shown work at Tate Modern, The Barbican, Centro de Cultura Digital, Sydney Opera House, Royal Albert Hall, Pompidou Centre, Maxxi and Sonar, and performed radio sessions for John Peel and Mixing It. The ongoing sound art radio show ‘DO or DIY’ on WFMU has had over a million “listen again” downloads. since 2003. The People Like Us back catalogue is available for free download hosted by UbuWeb.