Photography & Intermedia

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.

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

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


“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

Colin Campbell by Adriane
February 20, 2017, 12:30 pm
Filed under: Narrative, repost, Video Art

Born in Reston, Manitoba, 1942, Colin Campbell studied at the University of Manitoba (BFA) and Claremont Graduate School in California (MFA), then taught at Mount Allison University in Sackville, New Brunswick in the late 1960’s and early 1970’s, where he made his first video works. He moved to Toronto in 1973 and taught first at the Ontario College of Art, now the Ontario College of Art and Design, and then, beginning in 1980, in the Department of Fine Art at University of Toronto. Campbell died of cancer in October 2001 and is greatly mourned by friends and colleagues.

Canada’s premier video artist and author of over fifty titles, Campbell was active in the artist-run centre movement in Canada, a founding member (and for many years president) of Vtape independent video distribution. He curated video and performance programs in Toronto, Montreal, Ottawa, and Rio de Janeiro, and published texts in FILE and Fuse magazines, as well as the artist’s books The Woman from Malibu (1978) and Modern Love (1979), commissioned by Art Metropole, Toronto. A retrospective exhibition, Colin Campbell: Media Works 1972–1990, was mounted by curator Bruce W. Ferguson for the Winnipeg Art Gallery in 1990, and toured nationally the following year. Campbell received the Bell Canada Award in Video Art in 1996.

Colin Campbell represented Canada at the Venice Biennale in 1980 and at biennial exhibitions in Sao Paulo in 1977 and Istanbul in 1992, as well as at OKanada in Berlin (Akademie der Künste, 1982) and Documenta in Kassel, Germany in 1977. He exhibited at the National Gallery of Canada, the Musée National d’Art Moderne (Paris), the Museum of Modern Art and the Whitney Museum of American Art (New York), and at museums and galleries elsewhere in Europe and throughout Canada and the United States. His video and film were included in the television series Ghosts in the Machine (Channel Four Television, London) and Video Art Vidéo (TVOntario) and aired on Vision Television (Toronto). His work has been screened at the Melbourne Film Festival, British Film Institute Gay and Lesbian Film Festival, the Festival of Festivals (the precursor to the Toronto International Film Festival), the Chicago International Film Festival, and elsewhere.

– Peggy Gale, excerpted from her text “About Colin Campbell” on the Video Art in Canada Website (Vtape/Virtual Museum of Canada, 2006)

Martha Rosler: “Semiotics of the Kitchen” (1975) by Adriane
February 19, 2017, 12:30 pm
Filed under: Narrative, repost, Video Art

Semiotics of the Kitchen adopts the form of a parodic cooking demonstration in which, Rosler states, “An anti-Julia Child replaces the domesticated ‘meaning’ of tools with a lexicon of rage and frustration.” In this performance-based work, a static camera is focused on a woman in a kitchen. On a counter before her are a variety of utensils, each of which she picks up, names and proceeds to demonstrate, but with gestures that depart from the normal uses of the tool. In an ironic grammatology of sound and gesture, the woman and her implements enter and transgress the familiar system of everyday kitchen meanings — the securely understood signs of domestic industry and food production erupt into anger and violence. In this alphabet of kitchen implements, states Rosler, “when the woman speaks, she names her own oppression.”

Electronic Arts Intermix

Hollis Frampton • (nostalgia), 1971 by Adriane
February 18, 2017, 12:30 pm
Filed under: Narrative, repost, Video Art

“In (nostalgia), Frampton is clearly working with the experience of cinematic temporality. The major structural strategy is a disjunction between sound and image. We see a series of still photographs, most of them taken by Frampton, slowly burning one at a time on a hotplate. On the soundtrack, we hear Frampton’s comments and reminiscences about the photographs. As we watch each photograph burn, we hear the reminiscence pertaining to the following photograph. The sound and image are on two different time schedules. At any moment, we are listening to a commentary about a photograph that we shall be seeing in the future and looking at a photograph that we have just heard about. We are pulled between anticipation and memory. The nature of the commentary reinforces the complexity; it arouses our sense of anticipation by referring to the future; it also reminisces about the past, about the time and conditions under which the photographs were made. The double time sense results in a complex, rich experience.” – Bill Simon