People familiar with Adamo Macri’s portraits may well experience an aesthetic shock to see a picture of the artist with his eyes wide open. So many of his self-portraits depict the eyes averted, lowered, askance, or rarely looking directly at the viewer that I was taken aback by a recent picture, entitled Damo, 2013. There are a few other pictures in his Facebook oeuvre wherein the artist opens his eyes and stares out of the canvas, Self-Portrait, 2013, for example, but that is... [more]
The current art market status of video art is comparable to that of photography in the early nineties. Back then photography wasn’t considered "real art" requiring hard-won skills going beyond simply pointing a lens and pressing a button. Moreover, prints could be reproduced endlessly rendering the work devoid of true artistic aura, a Benjaminesque nightmare. For video art too, controlling editions and authentication are the biggest obstacles to overcome, even more than trying to convince... [more]
The moving image has a long-standing relationship with trickery: deceiving the eye, suspending disbelief, displaying the impossible. In fact, it's devilishly good at it.
Everybody's heard about the audience who ran screaming from the oncoming train at the premiere of the Lumiere Brothers’ L'Arrivée d'un train... (1895). I recently read a suggestion that they ran partly to avoid being crushed by a steam train and partly because they knew doing so offered them bit parts in an anecdote... [more]
The School of the Art Institute of Chicago's Department of Film, Video, New Media and Animation seeks applicants for a full-time, tenure-track faculty position beginning Fall 2015. Rank and salary are commensurate with experience, teaching, and current professional status.
The department seeks candidates who are practicing artists with strong conceptual and historical grasps of contemporary issues in the field of experimental Media Art. Deeply addressing approaches as diverse as long-form Narr... [more]
Take the train that shuttles from Grand Central Terminal to Times Square. It’s a short ride, dependably stocked with commuters, and reliably taken over by advertisers who cover every available inch with glossy graphics. The inside and the outside of every car get the full treatment—so that you can’t possible ignore their call to purchase. In New York City, the advertisers have us by the eyeballs.
In the seventies, the battle for public space was not yet won. In fact, subway car... [more]
Amsterdam, Oct. 2014: She felt honored to have been nominated for the Dr A.H. Heineken Prize for Art. The list of previous recipients is impressive: Carel Visser, Peter Struycken, Mark Manders, and Daan van Golden are among them. With a cool 100,000 euro attached in prize money, it’s one of the biggest art awards in Europe (for comparison: Turner Prize winners get 40,000 pounds, roughly half of that amount). But Wendelien van Oldenborgh did not expect to win the award, which she received la... [more]
My first introduction to performance art that reclaims public and architectural spaces was meeting the brilliantNoemie LaFrance, acclaimed site-specific Choreographer, Director and Producer of Sens Production, in 2003 in New York City. Subsequently I attended her debut work, "Descent" which took place on a spiraling staircase. Having also created a piece on a stairwell that I'd titled the same name, I connected with LaFrance's creative vision. Here is my "Descent" image which I shot in 1999 ato... [more]
We’re pumped to be doing our first #Instaresidency, where we hand over our Instagram to an artist for a week and let them sort out the rest. First up: digital artist and filmmaker Theodore Darst.
Darst first caught our attention through an exhibition, Only Real, in 2014 and then on Instagram with his dynamic animations playing with form, depth, and Macklemore. Using a range of digital software programs from CINEMA 4D After Effects to Photoshop, Darst abstracts his subjects through addin... [more]
Exhibeted at Pure Surface, a performance series in Portland, Ore. where movement, text, and film happen together in the spirit of improvised collaboration.
for Corrine, my sister
May 5, 1975 - October 13, 1984
Two children die as I-84 rock slide hits car
Yesterday on interstate 84 about 10 miles east of Cascade Locks when the car in which they were riding was struck by falling rocks. Hospital officials identified the dead as Jacob Peterson, 8, of Troutdale, and his cousin, Corrine Herrera, 9, of Gresham. Randy Herrera, 7, of Gresham, was not injured.
—The Sunday Oregonian, October... [more]
Pink is the color of teenagers' cheeks when they’re secretly falling in love
For the third time in Palo Alto by Gia Coppola, they meet. It’s daytime. They study at the same high school but not the same class. So much has happened since that disastrous party, they both thought it was over, their untold love would not survive. Walking towards each other, they pretend to not notice the disturbing presence of the other getting closer. They slow down their pace, in perfect harmony&mda... [more]
MARIA'S COMET 1847 iv is dedicated to Big Brothers Big Sisters of International with special thanks to the Maria Mitchell Association
MARIA'S COMET 1847 iv (IMDb) is a short film by American curator and filmmaker Homa Taj (IMDb) based on a poem of the same name by Frank J Cunningham.
For more details about the film, the poet, the filmmakers, the cast and other information, please visit our website: http://mariascomet.com/ [more]
Monopol magazine reported Thursday that German filmmaker Harun Farocki passed away on June 30, 2014, at the age of 70. Born in German-annexed Czechoslovakia in 1944, the Berlin-based artist was known not only for his provocative films, videos, and installations, but also his critical practice as a theorist, editor, curator, and educator.
Farocki studied at the Deutsche Film- und Fernsehakademie Berlin (DFFB) from 1966 to 1968. He would later become editor of the Munich-based journal Filmkritik a... [more]
In Rati Chakravyuh, filmmaker Ashish Avikunthak presents several conceits. A single take of 102 minutes in a 105-minute film, screened as a very large projection at Chatterjee & Lal, has Rati, the Goddess of Love in Hindu mythology explored as the notion of desire through the ages, and Chakravyuh (a military formation mentioned in the Hindu epic Mahabharata that consists of a labyrinth of concentric circles) used as a defense mechanism. It’s a gauntlet that Avikunthak throws down from the sta... [more]
When I think of Midnight Movies I timeslip to the early 90s and all-nighters at the Scala in London's Kings Cross. The imagery is that of The Trip, Eraserhead, Vanishing Point, and Blue Sunshine. The aroma is of popcorn and hashish, the taste—cheap stimulants and vodka. I think of a motley crew of film geeks and freaks who have stumbled out of the pub at closing, dashed to the off license, and now gather inside the crumbling flea pit for an all night fix of kitsch, action, and high weirdn... [more]
Li Zhenhua began our conversation with a gentle correction: he had three exhibitions opening in one month, not three exhibitions opening over as many months. I was reminded of these words as Li’s disembodied voice greeted me at Chronus Art Center in Shanghai last week during the opening of a satellite exhibition for “Pandamonium: Media Art from Shanghai,” an exhibition co-curated with David Elliott in Berlin. Unable to attend the show’s simultaneous openings in Berlin and Shanghai, Li introduced “Pand... [more]
The first three weeks of April in Toronto are host to the 27th incarnation of the Images Festival, which bills itself as the largest festival in North America for "experimental and independent moving image culture." It offers a much needed and relieving, counter to the Toronto International Film Festival. The Images Festival focuses primarily on video art, far too often only seen in the rarefied spaces of contemporary art galleries, and smaller independent films that would perhaps not be showcased... [more]