Archive for the ‘Video Art’ Category
The 2017 Presidential Inauguration inspired this mashup:
This is the latest animated loop inspired by traversing the city. Whether walking or on public transit, observations of urban life trigger visual ideas that are rendered as brief animations. Audio accompanying the animations are recordings from urban walks as well as interviews with NYC residents. The audio accompanying this animation is from a brief excerpt from an extended interview with my 86 year old neighbor Louise.
Artist Antonia Pérez creates sculptures by weaving discarded plastic bags. She worked at the gallery during the exhibition.
This is the final weekend for the exhibition “Lettuce, Artichokes, Red Beets, Mangoes, Broccoli, Honey and Nutmeg: The Essex Street Market as Collaborator” at Cuchifritos Gallery located in the Essex Street Market. The exhibition curated by Nicolás Dumit Estévez Raful has been in the works for the past two years. The premise of the exhibition is for “six socially conscious artists to engage vendors, customers and the Market itself in their artistic processes as a means of co-generating experiences centered on the life that unfolds outside Cuchifritos Gallery, the art space of the Artist Alliance Inc”.
So in preparation for the exhibition, the artists came together with Jodi Waynberg the Executive Director of Artist Alliance as well as Nicolas to begin considering how the artists might work with the market. Jodi toured the artists through the market and introduced them to various vendors as well as the building manager and staff. Nearly all the artists attended a Vendors Association Meeting to present their projects and solicit collaboration.
As one may imagine, the vendors are small business owners and workers. The market is the place that they go to for employment, not necessarily for cultural engagement. Many of the vendors are entirely preoccupied with maintaining their business and were no nonsense about artistic participation. If the artists did not approach with a brief and concrete plan for collaboration, there was little chance of any cooperation. A few vendors were excited at the prospect of creative engagement and happily collaborated. However in general, the ambitious projects envisioned by the artists needed to be simplified.
Laia Solé and Nicolás Dumit Estévez Raful employ the color green from the market to create a video montage that collapses the artists at work and the market at work.
For example, I wanted to create an audio montage of the vendors chanting or singing their goods and then to have that audio amplified onto the street via a bullhorn installed on the facade of the Essex Street Market. The concept was to have the interior of the market spill out onto the street as street markets commonly do in Latin America and Europe. Most of the vendors were not comfortable in singing their goods and the building management did not allow the installation of the bullhorn due to city ordinances regarding noise pollution (at least that was their excuse). When I was recording one of the vendors, a shopper approached me to tell me about recipes that she uses for a particular root. It then occurred to me that if vendors did not want to sing, perhaps they would share a recipe and the audio montage became primarily recordings of market recipes. As the piece would not be projected onto the street via a loudspeaker, I created a sandwich board with a speaker installed into it and wore the sandwich board on the street. In this way, the original concept of the piece was fully realized.
Each artist has her or his own story of how the work needed to be modified for the final exhibition. And in the end, this is the nature of collaboration.
Stalin/Putin, Smith/Mugabe, Somoza/Ortega, Hirohito/Kim Il-sung, Idris/Gaddafi, Batista/Castro, GOP/Dems are ongoing portrait pairings of autocratic leaders that reflect a corruption of power. These illustrations have been created with the intention of animating a transformation from one face to the other as video loops. “Stalin to Putin” is the second animation of the series. “Somoza to Ortega” was completed quickly following the Sandinista’s last constitutional amendment that got rid of term limits, facilitating Ortega’s permanency as Nicaraguan president. I created the illustrations and my assistant Thomas Medina is the animator behind “Stalin to Putin”.
Denver-based artist Tony Ortega shared recent videos montages incorporating a sequence of rotoscope animation that he created in a workshop that I taught last summer. The montages are so much fun that I felt the urge to share. The sequences are well selected and the timing is excellent, nice way to kick off a Tuesday morning!
I created the art video Puro Party to explore my interest in identity and hybridity. I am using a variety of I pad apps, rotoscoping animation, appropriated gifs and appropriated music. In creating these videos, I am using grids to organize the composition and I incorporate pattern and repetition. In my creative process I use distortion and exaggeration for emotional effect. My work interweaves, juxtaposes unlikely images from American, Mexican and Chicano cultures that include icons, symbols, history, humor and the contemporary world to foster opportunities for the bending of meaning.
Last week I encountered Mary Reid Kelley’s new video at Frederick & Freiser Gallery in Chelsea and it is great! Upon walking in, I was about to walk out, because the video uses poetic verse which I generally do not want to listen to. However, the visuals, the costumes and makeup, the embedded videos and the use of Greek mythology are so quirky that I stuck around and I’m glad that I did. The artist takes the role of Dionysus and has fun with gender role reversal while celebrating sexual appetite and I’m certain there is more to the piece. The entire video is available on Mary Reid Kelley’s site.
This year’s installation of Mexico City’s Festival of Electronic Arts and Video Transitio_MX 06 is titled “Cambios Compartidos” (“Shared Changes”) and opens Friday September 25th and runs through October 4th at the National Center of the Arts. “a geography of being : una geografia de ser” will be on view and the game is available to play online.
My 2001 net.art project “audiophile” is on view as part of the exhibition titled “Press Play” curated by Ruth Bruno and Cortney Lane Stell. “Press Play” is collaboratively produced between RedLine and Denver Arts & Venues. The exhibition is on view at McNichols Civic Center Building 144 West Colfax (corner of West Colfax and Bannock) from March 21st through June 28th.
Curators Stell and Bruno describe the conceptual premise of the “Press Play”:
“Rules of games, like those found in video games, imply ethical models or boundaries to be kept within in daily societal interactions and experiences. These parameters often structure our actions, perspectives, and worldviews. The artists in Press Play use these normative tools as structure, starting points, or forces to push against in their work. While some artworks explore conventional modes of structured play, other works use ruled play systems in order to subvert these conventional models of participation and competition.”
Participating Artists: Mark Amerika, Molly Bounds, Brody Condon, Milton Croissant III, Humberto Duque, Joseph Farbrook, Miltos Manetas, Eva and Franco Mattes, Alex Myers, Chad Person, and Ricardo Miranda Zúñiga.
Tonight (1/22/15) I attended the Jewish Museum’s “Universal Pictures: Considering Contemporary Video Practice” – a roundtable discussion with artists Joan Jonas, Ken Okiishi, Lucy Raven and Jennifer West.
I was 30 minutes late and unfortunately missed Joan Jonas’s presentation.
I walked in at the end of Lucy Raven’s talk as she introduced the excerpt from her film “Curtains” (50 minutes, 2014). Raven traveled around the world to capture various post-production studios where films are processed into stereoscopic 3D films. The snippet itself appeared terribly boring to have to watch, but the conceptual basis is striking. In considering the use of sound, Raven remarked how, the 3D processing flattens the film to a moving hologram, whereas sound when using surround sound is much more immersive and physical and 3 dimensional. There was little time for question and answer, however, I would have liked to have heard Raven’s thoughts regarding the temporal reality of a given digital technical labor. Today these post production studios are getting tax breaks in major cities. As the tech becomes less specialized the labor will move to cheaper markets rather than major cities, I wondered how quickly these studios would dissolve. I would have liked to have heard her reflections regarding digital labor after having visited all these post production studios throughout the globe.
To Ken Okiishi, I have one suggestion – don’t put video in a PowerPoint presentation – doing so will keep your computer from crashing. The interactive paint ball installation was cool, but trite. And the painted screens seemed to be too much of a shtick, not very interesting as objects though momentarily engaging. I did like the parallel between these art objects and our use of smart phones with traces of greasy finger marks…
Jennifer West presented fascinating material, including a satirical 18th century illustration of people’s fascination with lenses. She discussed her practice of using recycled film, drawing from the magic lantern, interests in pre-cinema practices, the beauty of 70mm film. The use of flash light projections in her installations. And she ended with images or brainstorming around her ongoing project on film memory. Which lead me to consider what do I remember of a favorite film? The pieces that stand out? And to consider the psychological power of circulation & cinema upon a mass public.
The Jewish Museum should have allotted more time for this roundtable, I’m sure other people had questions, but they pressed how they had gone beyond the given time.