Monday, August 24, 2015

Roy Andersson Commercials Part 4

I just discovered this brilliant (very) filmmaker. I watched YOU, the LIVING three times.... and now I am watching his very brilliant commercials. He has been true to his art even while working commercially.

Roy Andersson -- Norwegian Filmmaker

Thursday, July 9, 2015

Thank you Scott Siegling for posting this quote on FB:

I found a very interesting essay on early Intermedia practice by Al Hurwitz from March, 1970:
No one should embark in any role in intermedia if he is unsympathetic to the apparently antisocial conduct of youth or if he is easily threatened by seemingly bizarre and egocentric behavior. Avoid interermedia if you see yourself as an "authority" figure or if you don't know how to listen. Don't get involved if you are afraid of criticism of outsiders, if you need a blue print for the future, and if you place no trust in the unknown. Intermedia, like any art form, is not for the timid, nor is it to be undertaken lightly.

Wednesday, July 1, 2015

The Feminist Origins

The Feminist Origins:VDB’s On Art and Artists Interview Collection

"In April 1974, Video Data Bank co-founders Lyn Blumenthal and Kate Horsfield conducted their first interview, an in-depth conversation with art historian and curator Marcia Tucker. During the remainder of that year, Blumenthal and Horsfield went on to interview four more notable art world women: Joan Mitchell, Lucy Lippard, Agnes Martin and Ree Morton.
Seen together, these five interviews mark a seminal moment in the history of 20th Century art, a moment in which women artists were increasingly being asked to define and position their practice within the growing feminist movement. Blumenthal and Horsfield’s interviews with these remarkable women each touch on the question of gender and the role it played in shaping their aesthetics and career trajectories in a male dominated art world. Through these conversations, Lippard, Mitchell, Morton, Tucker, and Martin each personally define their experience as women artists, and talk about the influence of feminism on their own life. With self-awareness and considerable thought, these artists each embrace (or dismiss) an artistic vision aligned with femininity. Four decades later, these important conversations shed light on an exceptional period in which a new awareness of oppressive social constraints and gender inequality was matched by an exuberant sense of excitement and potential about what “women’s work” in the field of art might truly be." VDB

Wednesday, June 24, 2015


It took root in New York in the 60s and 70s with compelling images of street life that captured the heart of the city. But anxieties about privacy, terrorism, and paedophilia have conspired to make the art of street photography ever more difficult. Sean O'Hagan recalls the movement's heyday and charts today's pioneers


Saturday, May 16, 2015

YOKO ONO retrospective at MOMA, Summer 2015

Why Yoko Ono Is Her Own Breed Of Celebrity 

by Priscilla Frank

"Like anybody else I feel sad, quite often, I suppose," Ono said. "Nowadays, I feel sad a lot because the world is in turmoil. One thing John taught all of us is that when we're sad, we do what we can do to make ourselves feel better. We create work. I do a lot of that. When I'm feeling the emptiness I always go back to making something."
"Yoko Ono: One Woman Show, 1960–1971" will run from May 17–September 7, 2015 at MoMA.

Sunday, May 10, 2015



Victor Cobo Interview


"Right now I am strictly photography based because the idea of “the honesty” of the snapshot still fascinates me, but I experiment with different cameras.  35mm film and digital (never SLR’s), Polaroid’s and the Holga.  If it’s 35mm film I shoot drugstore film and get the drugstore to develope the rolls.  If the negatives come back scratched I am so happy!  I also love experimenting with the Rolleiflex 3.5f on a tripod.  The richness of the portraits are just amazing and I feel like this is a new medium for me instead of using small cameras with that have a built in flash.  To be honest I don’t really care what cameras I use in the future.  I hope to keep creating photographic series that reflect different chapters in my life."

Joan Jonas: New York Performances | ART21 "Exclusive"

Thursday, April 30, 2015

Walead Beshty
Installation view of A Partial Disassembling of an Invention without a Future: Helter-Skelter and Random Notes in which the Pulleys and Cogwheels are Lying around at Random All over the Workbench 
Curve Gallery, Barbican Centre, London, UK
October 9, 2014 - February 8, 2015
Photo: Justin Piperger

Tuesday, April 14, 2015

Jan Dibbets and HIS Perspective

Jan Dibbets in conversation with Sharon Boothroyd
London, UK
Interview conducted by phone 19 April 2013: 

"For Dibbets, the fundamental goal is to unmask the seemingly self-evident role of photography as a legitimate depiction of the world and to show how even simple operations can expose photography’s illusion." - Brain Wallis (ICP, NY)

Jan Dibbets-- Sea 0-135 (degrees)
Jan Dibbers -- Perspective Correction Series (1968)
This work was made in a park in Amsterdam. It is concerned with illusion and reality, the difference between what the camera sees and what the eye sees. As its title suggests, Dibbets wanted to 'correct' the recessive perspective of a large area of ground. He decided to use light coloured rope that would clearly mark off a cross shaped area of grass. He used much thicker rope for the two top, more distant, right-angles, so that they would appear to be in the same plane as those at the bottom of the photograph. The nearest right angles are approximately eight inches long, whereas those farthest away are each over thirty feet long. Grass was chosen because it did not have obvious perspectival references.

Monday, April 13, 2015

Ed Ruscha - TATE SHOTS

Ed Ruscha and his books

There's A Place: Photographs by J. Shimon & J. Lindemann

April 11–June 7, 2015


John Shimon and Julie Lindemann are American artists who work together as the collaborative duo J. Shimon & J. Lindemann. They embrace their Wisconsin origins and are best known for their photographs about human existence in the Midwest. Their photographs are introspective—they could not be taken by an outsider. While Shimon and Lindemann are fully versed in contemporary photography and social media, their knowledge of photographic history and antiquarian techniques gives their pictures a distinct aesthetic. This gets to the very heart of their work: even though they use a medium with inherent possibilities for mass production, they favor the individual—and sometimes unique—photographic print. There’s a Place is their first museum retrospective and the largest exhibition of their work to date.

My Advanced Photo class from Cornell College is taking a road trip to see this show! 

Sunday, March 22, 2015

Eva Respini, Curator of Photography @ MOMA interviews Sterling Ruby

I like this work. Collage using found photography. This interview is from
New Photography 2009: Sterling Ruby.

Eva Respini, Curator of Photography @ MOMA interviews

Interview with EVA RESPINI & Saint Lucy.

In this interview between Mary Alice Durant and Eva Respini, Eva discusses the works of Robert Heineken, Cindy Sherman, Man Ray and others who have used the medium of photography to make work. GREAT READ.