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Michael Patterson-Carver

Mon, 13 Feb 2012 20:30:05 PST

Michael Patterson-Carver’ s drawings range from small groups of colorful figures protesting specific issues to political allegories where nazis, klansmen, robber barons and terrorists meet current day political leaders. His drawings address both current and historical struggles and in this way exhibit both ongoing themes of cultural and political repression and the hypocrisy of past and present injustices.
Drawings of protests of suffragettes, Japanese internees and the anti-prohibition and civil rights movements depict battles for inalienable rights that we often take for granted. Exhibited alongside drawings illustrating the present state of the union, Patterson-Carver’s work is a call to action.
source: sorrywereclosed

artdaily

New Museum of Contemporary Art. G:Class

Exey Panteleev's Geekography

Sun, 12 Feb 2012 20:24:17 PST

Exey Panteleev ‘s Geekography. SexUI Sexy HTML Tips Sexy CSS Tips

html css, click css html, html p tag text wrapping with image

3 years of Geekography, backstage (02:56)
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Marta Popivoda - Tunnel 2005

Sat, 11 Feb 2012 20:30:05 PST

Marta Popivoda (Belgrade, 1982) is film and video maker, but also cultural worker from Belgrade. She is part of the TkH collective of theorists and artists (TkH=Walking Theory), which deals with the problematics of performance paradigm in art, culture and theory. TkH is mostly active on the independent art scenes in Belgrade and Paris. In her solo projects she explores cinema as a medium and format of contemporary art and as a tool of knowledge production.
source: artist site

Tunnel 2005(3:45) push play or go to martapopivoda - tunnel

Kelly Reemsten

Fri, 10 Feb 2012 20:30:05 PST

Kelly Reemtsen creates portraits of anonymous women wielding hefty and dangerous tools. The inclusion of the late 1950’s/early 1960’s dresses on the figures suggest that it’s unlikely the women would be engaged in the kind of work the tools are intended for, pointing to dark and perhaps murderous intentions. The haunting work also carries the significance of this paradox, pointing to a time when women were kept at home as housewives while their husbands had careers, subtly suggesting the possible motives of the ominous femme fatales.
source:
hifructose

dkgallery

adlerandco

Bartholomäus Traubeck

Thu, 09 Feb 2012 20:30:06 PST

HuffPost Arts: In the visual realm it is easier to separate form from content, shape from materials. In the audio realm the shape of a song is its content. Your work shows the connection between the aural and visual realms. Do you think the senses of sight and sound are separate? Does what you show about sound translate back onto shape?

Bartholomaus Traubeck: This is an interesting question. I am not sure but i think they are separate. It is our mind that is able to accomplish the translation from, say visual forms to an imagination of fitting sound for a shape. This is what we call the audiovisual experience. If something like this creates a certain atmosphere you can not experience it by taking one sensory input away. I think it could generally translate back onto shape, even in a very practical manner. Just think of how actual vinyl records are made. There is an input that sends a soundwave directly to a cutting machine which is using the sound as instruction for movement. like this sound is translated to shape. Regarding my work, this would probably not work that easily since there is a lot of steps in between and the camera is not that precise. My machine is rather a contraption for generatively producing music that is interpreted by the data in the year rings than an actual sonic representation of the data.
source:
HuffPost Arts

schroedingerstagcloud (Together with Clemens Schrammel.)

Years (02:13)
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Ursula Neugebauer - von herzen mit schmerzen 2001

Wed, 08 Feb 2012 20:30:05 PST

Unter dem Titel “…von Herzen, mit Schmerzen…” zeigt Ursula Neugebauer eine zweiteilige Arbeit: der eine Teil besteht aus einer Pflanzung von 3000 Margeritenstauden auf einer Fläche von 200 qm. Die Künstlerin entfernt von allen Margeriten die weißen Blütenblätter - auf obsessiver Suche nach Gewißheit, nach Wahrheit. Mit jeder neuen Blüte setzt die Suche von neuem an, ein ewiges, endloses Dasein in Ungewißheit begleitend. Das Leitmotiv bildet der bekannte Abzählvers: Er liebt mich von Herzen, mit Schmerzen, über alle Maßen, ein wenig, gar nicht.
source:
artist site

von herzen mit schmerzen 2001 (08:51)
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Lise Sarfati

Tue, 07 Feb 2012 20:30:05 PST

After living and working in Russia for 10 years, in 2003 the French-born photographer Lise Sarfati decided to drive across America: “Just a road trip from the east to the west, like in the American tradition of photography, but not with the same spirit,” she explained last year in an interview for the online site ASX.
On that first trip she concentrated on the lives of young, middle-class women, much the same kind of people who might make up the audience for her pictures.
source:
FT Magazine

yossimilo

The New Life (04:14)
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Antoni Tapies Dies At 88 Years Old

Mon, 06 Feb 2012 23:01:07 PST

Antoni Tapies passed away last night according to his family members. He was 88 years old and had been in bad health for some time. Tapies was hugely influential to European Abstract art;
source:
huffingtonpost

Antoni Tàpies (05:27)
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Allison Kudla

Mon, 06 Feb 2012 20:30:06 PST

Allison Kudla is interested in using digital media to preserve and discover environments that are in a continual state of flux. She also uses technology in her art to gain greater perspectives on the system in which she exists, with the vision of generating deeply impacting and fully present systemic realities. She hopes for her work to inspire, develop and question the technology it uses, with the pursuit of utilizing art to create meaningful and present experiences that allow us to understand our selves and our habitats in ways no others forms of human inquiry and development could. In her earlier work, she focused on the variation of interiors by producing real-time video/audio renderings using data sensed within the given space. Her more recent work uses data sensed from natural systems to create hybrid bio-mechanical systems. Currently she has been exploring CNC technologies and plant tissue culturing in her time-based botanical works.
source:
Database of virtual art

gallerybmb

Baden Pailthorpe - Formation (difference and repetition), 2011

Sun, 05 Feb 2012 20:30:06 PST

Baden Pailthorpe is an Australian interdisciplinary artist currently based in Paris, France. Situated broadly in the field of new media, his work explores technologies and their political, cultural and conceptual potential. Pailthorpe’s work has been widely published and exhibited, with solo and group exhibitions both across Australia and internationally. Baden Pailthorpe holds masters degrees from the Université Paris VIII, Vincennes—Saint Denis, France, and the College of Fine Arts, UNSW, Sydney, Australia.
source:
triangulationblog

Formation (difference and repetition) II, 2011 (08:38)
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Formation (difference and repetition) series 2011, by Baden Pailthorpe
“Made using an Afghanistan-based video game, Baden Pailthorpe’s ‘Formation’ series, explores the aesthetics and dynamics of opposition. In the work, two opposing forces of US soldiers and Taliban combatants follow invisible waypoints side-by-side. Oblivious to each other’s presence thanks to a hacked game setting, the usual violence of this relationship is transformed into a poetic, uncanny rhythm that repeats and amplifies the avatars’ movement.”

70s Blowjob Faces

Sat, 04 Feb 2012 20:30:05 PST

70s Blowjob FacesThe faces men made while receiving blowjobs in 1970s pornography.

Common Law Cabin - Russ Meyer 1967 (1:09:17)
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Adam Frelin - Slowwalker 2010

Fri, 03 Feb 2012 20:30:05 PST

Adam Frelin: “In many ways my projects are extracted moments taken from a larger story that is never told in its entirety,” Frelin states. “They are moments that describe certain actions (moving, floating, stealing, escaping, disappearing) that are motivated by self-imposed or external forces. The result of both leading and being lead, characters carry out their actions with a strong sense of mission. In my work these activities take place––physically and thematically––at points where the natural world and our constructed world intersect.”
source: samsonprojects - Winners, Factions & Thieves 2008

The Faction 2007 (13:17)
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In 2007 I was invited by L.A. art organization, Outpost for Contemporary Art, to create a new project in the Ukraine. Having discovered that the Ukrainian president had his own private marching band, I wanted to use them as part of my project. Rather than work with the entire band, I pulled out a faction of members, a brass quintet, that I filmed throughout the capital of Kiev.
The Faction

Daniela Edburg - Knit

Thu, 02 Feb 2012 20:30:05 PST

When I interviewed you about “Drop Dead Gorgeous,” you explained how “through color, composition, and humor you can create the illusion that something is aesthetically pleasing when, in reality, it could be horrible or gross.” I definitely see that using knitting as a theme makes these potentially gross scenes funnier—what is it about knitting that lightens the whole scene up?

Daniela Edburg: I think in this newer work I’ve actually stopped using humor as a way of communicating. They have also ceased to have a clear story, I think the images are pretty dramatic, but there is a mystery to me as to what some of these characters are going through. There is an ambiguity to what it is that moves them. They are obstinate and endearing, I really feel connected to them.

The characters in your photographs are all alone with these knit objects and they sometimes seem like they’re in danger. Is there something insidious or post-apocalyptic about knitting?

I think this series is pretty introspective. The characters are alone, dealing with themselves in a very intense manner. For me the knitting can represent many things: the creation of a safe place, a form of protection. It also represents creativity in its most basic form and an obsession channeled or harnessed in an attempt to preserve mental health.

Are our obsessions, desires, hobbies killing us?

I would say they are saving us.
source: themorningnews

Christian Skeel

Wed, 01 Feb 2012 20:30:06 PST

Christian Skeel’s paintings deal with different corners of the worlds’ visual presence on a scale from open winter landscapes, waves and tree trunks to other artists’ pictures and film stills. The paintings have in common that they all lead the familiar and intimate, originally photographed, space out to the border where it partly breaks down in visual paradoxes.
source: tomchristoffersen

(loop)
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Pioneering Artist Mike Kelley Has Died at 58

Wed, 01 Feb 2012 12:47:36 PST

Mike Kelley, one of the most critically acclaimed artists of his generation, has died at the age of 58. According to several sources close to the artist that The Observer has spoken with the cause of death was suicide.
source: galleristny

Mike Kelley - What’s In My Bag? (06:25)
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Joshua Heineman - Stereogranimator

Tue, 31 Jan 2012 20:30:05 PST

Like is often the case, it was dumb luck that changed my private interest into a years-long art project that captivated the Internet (as much as such a thing can happen) & made this NYPL application possible.
One evening in my final year of college, I was downloading digital snapshots to my laptop when I got a fleeting sense of 3D as the preview screen flicked quickly between two similar shots. I located the individual photos & flipped back & forth between them continually. The parallax effect of minor changes between the two perspectives created a sustained sense of dimension that approximated the effect of stereo viewing. When I realized how the effect was working, I set about discovering if I could capture the same illusion by layering both sides of an old stereograph in Photoshop & displaying the result as an animated gif. The effect was more jarring than through a stereoscope but no less magic
source: Joshua Heineman - Stereogranimator

Christian Marclay - Telephones, 1995

Mon, 30 Jan 2012 20:30:05 PST

Christian Marclay’s “Telephones” (1995), a 7 1/2-minute compilation of brief Hollywood film clips that creates a narrative of its own. These linked-together snippets of scenes involve innumerable well-known actors such as Cary Grant, Tippi Hedren, Ray Milland, Humphrey Bogart and Meg Ryan, who dial, pick up the receiver, converse, react, say good-bye and hang up. In doing so, they express a multitude of emotions—surprise, desire, anger, disbelief, excitement, boredom—ultimately leaving the impression that they are all part of one big conversation.

The piece moves easily back and forth in time, as well as between color and black-and-white, aided by Marclay’s whimsical notions of continuity. A shot of a woman decked out in ’70s tiger-patterned clothing is followed by one of Whoopi Goldberg talking on a zebra-striped phone. A man saying “I haven’t been able to think or concentrate on anything but you” segues to another man’s perplexed reaction: “I see,” he says. The individual soundtracks are surprisingly successful in setting a mood even in such minute segments, and Marclay uses them, along with other inherent effect—dialing, ringing, beeping, voices, the receiver being dropped or slammed down—to create a rhythmic tone poem.
source: Carol Diehl

paulacoopergallery

Telephones, 1995 - Christian Marclay (07:17)
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Christoph Schäfer

Sun, 29 Jan 2012 20:30:05 PST

skug: Du bist als embedded artist bezeichnet worden, als Künstler-Aktivist, der an sozialen Bewegungen, wie etwa in Hamburg bei stadträumlichen Auseinandersetzungen, von »Park Fiction« bis »Recht auf Stadt« teilnimmt. Wie stellst du diese Verbindung her?

Christoph Schäfer: Embedded, Künstler und Aktivist – diese Begriffe sind Fallen. Mir geht es um Aneignungsprozesse, um eine totalisierte Wunschproduktion, in der sich diese Identitäten auflösen. Manchmal gelingt es, dass künstlerische Mittel in einer Bewegung eine Funktion übernehmen können – oder eine ungewohnte Perspektive eröffnen. Wenn man dem Stadttheoretiker Henri Lefebvre folgt, werden wir alle im Verlauf der »urbanen Revolution« unser Alltagsleben in Dichtung verwandeln. Das bedeutet für mich auch, dass man auf die eigene Gelangweiltheit mit Umständen, Politsprachen und bürokratischen Bedenken reagiert, und sich immer wieder neue Herangehensweisen, Formen, Fluchten und Finten überlegt und sich in andere Milieus hineinbewegt.
source: skug: Die Rückkehr der verratenen Versprechen

Lecture Series: Christoph Schaefer - Factory City

Notizen zur Roten Ruhr Armee 1 (07:19)
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Notizen zur Roten Ruhr Armee 2 (06:07)
youtube

Ein kurze Geschichte der Roten Ruhr Armee, erzählt in einem Zeichnungsfilm von Christoph Schäfer.
Mehr Informationen zu der Arbeit, die im Kontext von “Auslaufendes Rot - Anti-Monument für die Rote Ruhr Armee” in Essen 2010 entstanden ist: saloon-la-realidad

Hintergrundmusik ist ein Pobetape des Schwabinggrad Balletts

John Carpenter's They Live

Sat, 28 Jan 2012 20:30:00 PST

They Live should be embraced as a true work of science fiction. The fact that it uses the context of an exciting story of aliens, gunfights and action to disguise the subtext of angry political outrage is the very essence of what sci-fi should be. As an audience, we shouldn’t be surprised when we pick at the surface of the plethora of blockbusters released every year to find they are trying to tell us something more
source: denofgeek

Shepard Fairey

They live (1988) The sunglasses ‘Obey’ ‘This is your god’ (05:48)
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Full Movie

IMDb

Hans Lannér

Fri, 27 Jan 2012 20:30:05 PST

Hans Lannér works with images from various origins – moments from journeys, everyday life compositions, abstract thoughts and fading memories. He works in a dissolved but yet precise manner, where each smear of colour is both body and content. Where the motif is both simple and inscrutable.

There is a timeless fateful quality in Lannér’s work that Ulf Linde described in catalogue text: “…When our own species has died out the earth will continue to spin without us. The horizon will continue to be horizontal, weights will continue to fall straigt downwards, night will continue to follow on day: everything that the man crossing the road never needs to think about but takes for granted. This is what Hans Lannér gives expression to in his little, etched hymns.”
(from the book “Hans Lannér”, Carlsson bokförlag, 2008)
source: gallerimagnuskarlsson - Care

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