R
ROMAN SIGNER - ARTIST EXTRODINAIRE.
Performance Art, Photography and Video I N T E R M E D I A / PHOTOGRAPHY at Cornell College
Wednesday, November 11, 2015
Wednesday, November 4, 2015
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
Wednesday, July 29, 2015
Thursday, July 9, 2015
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
STREET PHOTOGRAHY
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
IN THE GUARDIAN
IN THE GUARDIAN
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.
Friday, May 15, 2015
Wednesday, May 13, 2015
Sunday, May 10, 2015
Victor Cobo Interview
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."
"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."
Thursday, April 30, 2015
Walead Beshty
http://www.regenprojects.com/artists/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
|
Saturday, April 25, 2015
Friday, April 24, 2015
Wednesday, April 22, 2015
Monday, April 20, 2015
Friday, April 17, 2015
Thursday, April 16, 2015
Wednesday, April 15, 2015
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)
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.
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) |
Monday, April 13, 2015
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!
HYDE GALLERY -- MUSEUM OF WISCONSIN ART IN WEST BEND
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!
Friday, April 10, 2015
Wednesday, April 8, 2015
Tuesday, April 7, 2015
Friday, April 3, 2015
Thursday, April 2, 2015
Wednesday, March 25, 2015
Tuesday, March 24, 2015
Monday, March 23, 2015
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.
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.
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.
Monday, March 16, 2015
Subscribe to:
Posts (Atom)