Barbie turns out to be a pretty good shot, people seem glad to "talk to the glam", and you don't have to compress for the 'net. About her only shortcoming is, she doesn't see well in the dark. Here's her handiwork.
My submission to D Magazine 's Textures of Dallas" competition made it into the top 10, so I'll be there for the Q&A (screening at 7, Angelika Dallas).
I didn't have my own video-shooting phone at the time I made my entry, so had to borrow one; but I DO have my own handheld now: BARBIECAM! Compares favorably to the Canon 7D. She'll be in attendance.
Opening night is this Thursday, September 23, and it runs through the weekend. The whole thing is at the Angelika Mockingbird. There will be 3 different channels of programming on 3 screens at all times.
So, time to start deciding what to see.
If you prefer to see more titles at a glance and don't mind clicking for each program blurb, see the online schedule for the Fest here. The Fest website also has trailers and other good stuff.
If you prefer not to have to click for the program blurbs, you can download a PDF of the complete schedule in chron order here. This is the "classic" version I've been putting together for some years, with the programs in chronological order WITH the blurbs right there. The PDF is also (yellow-) highlighted to indicate which programs sounded most interesting to me based on my own idiosyncratic preferences, what I've seen before, etc.
I haven't kept up with all the info coming out about particular programs (see the Fest's Facebook page), so please feel free to add info in comments to this post.
Hope to see you at the Fest!
UPDATE to share the benefit, such as it is, of some additional notes for an art-oriented friend:
On the chron schedule, in some cases I just highlighted the first letter – those also sounded interesting but maybe not quite as much, for me. Most of my guesses are based solely on written descriptions – I didn't have advance access to any Festival submissions this year – and I could easily change my mind.FURTHER UPDATE: Just uploaded a slightly revised chron schedule with one correction and reflecting additional info from Bart about what he'd thought I'd like – here. His estimates re- my likes aren't 100%, but helpful.
Beyond that, I CAN say . . . I think more than one doc on Thursday will be very good – I'd pick one of those based on your interests.On Friday, DON'T MISS the Alt Animation compilation. Re- Lethe, I've seen just one other Lewis Klahr piece – with my co-curator, Danette Dufilho, for the I Heart Video Art series – and it blew both our minds.
And I've seen David Reilly's Please Say Something, and it's brilliant.
On Saturday, if you haven't already seen a lot of Ant Farm, the doc on them would be good. I think Bela will be educational for me; and I don't want to miss the Macbeth piece, although Shakespeare inspires not-so-great as well as great stuff, so you never know.
I'm looking forward to the doc on Jeff Koons and The Girl with Black Balloons, and Mars.
Sunday, I'm curious about Webisodes. I think the Vid Garbage compilation shd be considered "do not miss" – in particular, I've seen Prim Limit (which is sort of a sequel to the eteam installation I wrangled for The Program 2008), and I think you'd really like it. I'm v. interested to see Erasing David. Curious about Memories of Overdevelopment. And I never miss The Texas Show, as a way to keep up with the Texas-based community.
All that said, there's usually something I failed to focus on that turns out to be wonderful.
"[P]hotographer Sally Davies decided to buy a ["Happy Meal"] from McDonald's, set it out on a table, and take a picture of it every day until it disintegrated. That was 137 days ago and the . . . fries look as fresh as the day they came out of the fryer, and the burger — minus a little patty shrinkage — is virtually unchanged." More at Grub Street; see also Leo Foley's museum of barely-decayed hamburgers collected during the last 19 years.
Unfortunately, the meals are not so impervious that human digestion can't extract the calories.
. . . which are then used to make stop-action animations:
As I understand, the technique shown was developed by Berg. (Thanks, Ben!)
I don't think I've ever seen anything so simultaneously funnier/scarier.
(Thanks, Danny!)
Lots more visuals of the exhibition here. (For a larger version of the image at left, click on it; the work is by Jesse Morgan Barnett.)
. . . opened at 11am today in the blue building at 337 Singleton Blvd., Dallas, and will stay open 'til 10pm tonite (and the show will be up for a month or so; see the Sustenance FB page or blog for more details).
Congrats to Stephen Lapthisophon, Anne Lawrence, and all the artists on an exciting show. (The pic at right is what you might see as you enter Brian Fridge's installation.)
Notes from Anne about the opening today:
Shannon Brunskill and Courtney Brown will start their performance around 11 a.m.
Linnea Glatt and Jim Cinquemani will start the "Social Circle: Watermelon Social" around 6 p.m.
Devin King will be performing in his space on the 2nd floor around 9 p.m.
There is plenty of parking around the building. You can turn into the lot before the building, closest to the bridge or park in the large open lot across the street. Be careful crossing Continental! The cars are fast.
The exhibition includes a small installation of ART WORK newspapers and related materials. These are truly the LAST of what I've got, so come 'n get 'em.
I'm not perfectly objective here, since Cris Worley is my homey; but. She opened her new space on Monitor in Dallas, TX last night, and it looked great, and everyone was there.
Cris had planned just to consult, and she'll be doing plenty of that; but she missed having a space in which to show work. She found a great location in the Design District, sharing a building with Gallery Urbane. The space will be open Saturdays 11-5 and weekdays by appointment; see crisworley.com for more info.
Photos of many of the people and most though not all of the art work at the opening here (apologies to the people I missed shooting and esp. to those I didn't miss – none of the usual fixes have been made).
Seriously. From Robert Schneider of Apples in Stereo (red print in honor of the Apples).
Click on the image for a larger version, or go to OnlineMBA for an even bigger version.
Bloomberg reporter Bob Ivry has confirmed, U.S. taxpayers didn't just fork out $700 billion for TARP; they're also on the hook for $12.8 trillion for other assistance to the banks (see the PBS interview excerpt here).
Exactly who's gotten the benefit of our largesse? The Federal Reserve refuses to tell, despite being hauled into court. The reporter who led in pursuing this story – to the point of suing the Fed for the info and winning – was Mark Pittman.
Pittman died in 2009 at only 52. The precise cause of death is unknown. The Fed's appeal of the case is still pending.
(Per Bloomberg, at the time of Pittman's death, his outgoing messages bore a link to the photo of Woody Guthrie at left.)
Next time someone tells you we have to cut Social Security (even though it's fully funded through 2037 and could be brought into balance for another fifty years beyond that with an adjustment of less than one percent to contribution amounts – see Social Security Works), or that we can't afford $50 billion for jobs, tell them about the more than $12.8 trillion we've afforded to banks and suggest we take back some of that instead.
You may remember the first pic, right, from my 2008 post on Prospect.1 New Orleans.
What I should also have mentioned is that this "safe house," created by artist Mel Chin, was the launching pad for a massive art project, Operation Paydirt, in which we're all invited to collaborate.
Chin visited New Orleans after Katrina and learned that not only had the city been decimated by the disaster, but thousands of its kids were struggling with severe learning disabilities and behavioral problems because dangerous levels of lead had been allowed to accumulate in the local soil. He discovered that lead contamination is pervasive in many U.S. cities, and he determined to do something about it.
Chin developed a template that can be used to make "FUNdred Dollar Bills," and using this template, kids and others across the nation have created thousands of unique artworks and sent them to Chin's collaborative. Their goal is to amass three million FUNdred bucks by the end of the 2010-2011 school year and deliver them by armored truck to Congress, to help bring attention to the problem.
They want you to become part of the collaborative by making and contributing your own Fundred buck(s). You can download the template and find lots more info here, including where to send your bucks.
We included the template in the Non-Profit Margin exhibition at CentralTrak, as one of several examples of socially-engaged, participatory art projects in the vein contemplated by Temporary Services' ART WORK newspaper, and we solicited people to make and contribute their own FUNdred Dollar Bills. You can see a few more examples here (the two shown in this post are by Gabe Dawe and moi).
Please consider making this a project for your family, students, or drinking buddies. Here's a video about Operation Paydirt:
Most experts without a horse in the race agree it did work, but not nearly as well as it might have, because most of the money went to the wrong people – those at the top, who are hoarding it rather than spending it. Now those same hoarders and their muppets claim we must cut public entitlements like Social Security in order to address the deficit. But as Corrente explains:
"Jamie Galbraith is 100% correct . . . ; modern money is a spreadsheet:
[M]oney is a spreadsheet! It works by computer! When government spends or lends, it does so by adding numbers to private bank accounts. When it taxes, it marks those same accounts down. When it borrows, it shifts funds from a demand deposit (called a reserve account) to savings (called a securities account). And that for practical purposes is all there is. The money government spends doesn't come from anywhere, and it doesn't cost anything to produce. The government therefore cannot run out."(So much, therefore, for the ideology underlying the Cat Food Commission [the Deficit Commission appointed by Pres. Obama and headed by Alan Simpson, notorious opponent of Social Security], which is, in short form, that 'We're running out of money ZOMG!' and so the [Masters of the Universe, a.k.a. the "MOTU"], in order to continue to live the lifestyle to which they have become accustomed, must -- Must, I tell you! Must! -- strategically default on their obligations to elders under Social Security, and use that money for themselves.)
So, was Julie's program a success? The answer, too, NPR hides in plain sight, right in the lead:In the face of the financial crisis, the Federal Reserve decided to buy $1.25 trillion of mortgage-backed bonds as part of its effort to prop up the economy . . .Whenever you read "the economy," ask yourself "Whose economy?" And the answer to that question couldn't be more clear. [See chart at right {and click on it for a larger version}; via The Big Picture; sorry, no link provided to the exact post.]
.jpg)
For more info about how your tax dollars are allocated, see the National Priorities Project.
Coalition military deaths in Iraq since March, 2003: 4,766 (as of April 22, 2011; click here to update). At least 467 contractors have also died, based on only partial information. Total U.S. military wounded as of as of January 14, 2010: 31,882.
Coalition military deaths in Afghanistan since October, 2001: 2,416 (as of April 22, 2011; click here to update.
.jpg)
.jpg)
.jpg)
