tag:blogger.com,1999:blog-8245337576952089522024-03-07T03:07:49.278-06:00c-BlogBlog on art, politics, and trash. Art posts focus on contemporary art, esp. new media, and include analyses of complex works and reports on exhibitions, as well as brief alerts about cool new stuff. Political posts focus on info not well-reported in the corporate media.c.http://www.blogger.com/profile/14655618504753353692noreply@blogger.comBlogger1374125tag:blogger.com,1999:blog-824533757695208952.post-2294026030085907572015-09-13T12:41:00.001-05:002017-12-31T14:08:34.708-06:00Marjorie Schwarz at Goss-Michael Foundation<br />
(You can click on the images for larger versions; and apologies to all for the hasty photography. Also, fwiw, Google's replacement interface for Blogger has been greatly improved since the last time I posted, but at least for me remains more difficult to work with; e.g., the layout of this post is not all I'd like.)<br />
<br />
We’re looking at thirty-five paintings of photographs. Concerns regarding media and translation are of course evoked. <br />
<br />
The photos are mostly head shots. Many look like annual school photos; but the figures are often off-center. This could in some cases be because the original photos were casually or amateurishly shot – e.g., the top half of one figure’s head may have been cut off in the original photo – but in at least some others, it must have been a choice by the artist, e.g, when a disembodied head floats off-center within the picture space. The odd framing reminds us that we’re looking at an artifact, as well as enhancing a sense of disjointedness and displacement in time as well as in space.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8Gzr5WXKWdJgrNErn3ThpgJDSXqyeK0A7EXasbFuQD9nU6I6Z25g_N9cdZYuqDGzZ8KLZoHc7QYggYid_xtZ-pCwRcerzj7LjpFXH3clNBSOKzat0CU5rKld0ZYuSPhIAD2njCKTw1LkM/s1600/IMG_2586.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8Gzr5WXKWdJgrNErn3ThpgJDSXqyeK0A7EXasbFuQD9nU6I6Z25g_N9cdZYuqDGzZ8KLZoHc7QYggYid_xtZ-pCwRcerzj7LjpFXH3clNBSOKzat0CU5rKld0ZYuSPhIAD2njCKTw1LkM/s320/IMG_2586.JPG" width="240" /></a>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwD0xRwE24BL5pgVTttoPgpsEJggrbKcfSLS3FaV_LDfofFNfQSMhcjCGefHL9d9QWgQ7WWl50JG-nILVtSki576q_CK7-fpZflMhzFe5TrSZDD-GYaiCsib3tYHy8XYybQsYToJ7k6FsX/s1600/IMG_2585.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwD0xRwE24BL5pgVTttoPgpsEJggrbKcfSLS3FaV_LDfofFNfQSMhcjCGefHL9d9QWgQ7WWl50JG-nILVtSki576q_CK7-fpZflMhzFe5TrSZDD-GYaiCsib3tYHy8XYybQsYToJ7k6FsX/s320/IMG_2585.JPG" width="240" /></a>
<br />
<br />
More noticeably, nearly all the figures are literally decontextualized, their backgrounds distinctly if not solidly blacked out, with the edges of the figures sometimes limned sharply against the background and at other times blurred; or, in two paintings, the figures appear, sharp-edged, against winter white-ish backgrounds. But the figures nearly all look relatively “cut out” or separated from their background. One effect is not just to focus attention on the “subject,” but also on the insistent focussing on it, i.e., on the choice or process of over-emphasizing the distinctness of the figure. This might refer in part to our cognitive and psychological operations or predispositions in viewing “portraits”; I also found it difficult not to read the overall effect as suggesting alienation and/or dysphoria.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPWuueWgmYZR6BtllFsCROy0wJUzLwTYCCwsgEeMDUE85JFXYoC8PlMgLuxGUin-CYWvYS_FetbGLZ5iQuemTmfMD2yyUd7act87TZ7CjdTWKtoy9nGxg4Dg1SlWrYVXjNKDLkyGQgcU96/s1600/IMG_2581.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPWuueWgmYZR6BtllFsCROy0wJUzLwTYCCwsgEeMDUE85JFXYoC8PlMgLuxGUin-CYWvYS_FetbGLZ5iQuemTmfMD2yyUd7act87TZ7CjdTWKtoy9nGxg4Dg1SlWrYVXjNKDLkyGQgcU96/s320/IMG_2581.JPG" width="240" /></a>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDATxIIbHSBF9VHVMDeWqzYG5g1G6b_vx4-1PDeygjAZfOokhehf1yC4bJ7apB-3YtXkGxcVWxuCMWBkzzmr1S_g0cYQZ2kwV8XQ8tpJIAdkIl7Bw3Wcj0tDBoOp3hITBVxxT30BAtzFNM/s1600/IMG_2588.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDATxIIbHSBF9VHVMDeWqzYG5g1G6b_vx4-1PDeygjAZfOokhehf1yC4bJ7apB-3YtXkGxcVWxuCMWBkzzmr1S_g0cYQZ2kwV8XQ8tpJIAdkIl7Bw3Wcj0tDBoOp3hITBVxxT30BAtzFNM/s320/IMG_2588.JPG" width="240" /></a> <br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGBxBgslAraRA0Isvd7f-jWhlW19yIfyrNG4OlQZdJwJWrn67UWtJq5_CfX3lZkAQcoBRAd8Qlg1Xkfswng7HIAsY1AyktyQQ9a1uQCumKTZzqjZeG8sdbGzZqJP2mkkpwncA8AmDBUxoM/s1600/IMG_2577.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGBxBgslAraRA0Isvd7f-jWhlW19yIfyrNG4OlQZdJwJWrn67UWtJq5_CfX3lZkAQcoBRAd8Qlg1Xkfswng7HIAsY1AyktyQQ9a1uQCumKTZzqjZeG8sdbGzZqJP2mkkpwncA8AmDBUxoM/s320/IMG_2577.JPG" width="240" /></a>
Yet efforts to bring into focus the figures themselves are defeated by carefully calibrated degrees of blurriness which obscure the details, to a greater or lesser extent, or prevent recognition altogether. Sometimes the blurriness consists in an explicitly painterly roughness; at other times, it’s “photographically" blurred or smeared in a manner reminiscent of some of Gerhard Richter’s work; and the colors used in the subjects’ faces are often muted. <br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Emotions and idiosyncratic features sometimes seem nonetheless poignantly clear; but in some cases, the subject is rendered monstrous, or even abstract.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh4kdosbod8xrmi5Xr46LxH9IX06Fngq2hQZOPvvaWSDXyP8KI7RwaMxsJCCU_smuALOWTXNwciF3igSzG73TaxljG_Ew_HhwTi3t5l39ECK_ZpPrsTf8Y-qA_ddHxAlxRUu-hUHCeySVf/s1600/IMG_2556.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh4kdosbod8xrmi5Xr46LxH9IX06Fngq2hQZOPvvaWSDXyP8KI7RwaMxsJCCU_smuALOWTXNwciF3igSzG73TaxljG_Ew_HhwTi3t5l39ECK_ZpPrsTf8Y-qA_ddHxAlxRUu-hUHCeySVf/s320/IMG_2556.JPG" width="240" /></a>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqKH0FhW8XGbqu9QO749iX_CcgbCAg83RL7Gh9wned9gVi0bf1Gb7mavcaY59kTvV2zDtTv4YxPhHF5QK5vvBf3HBFGOGqJdSdsnrlNeOJPrTw_oKzeSM8URKKj8keNGa8DGmeldncuptq/s1600/IMG_2573.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqKH0FhW8XGbqu9QO749iX_CcgbCAg83RL7Gh9wned9gVi0bf1Gb7mavcaY59kTvV2zDtTv4YxPhHF5QK5vvBf3HBFGOGqJdSdsnrlNeOJPrTw_oKzeSM8URKKj8keNGa8DGmeldncuptq/s320/IMG_2573.JPG" width="240" /></a>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgMwzpY0WR7xEPSAJRUJqStDFZaOrczwJ6cDaWu36FaM6kSnd0eqll0mx_dfyf15SO_Qf_cplihHUWfC8tovRGydPirtQew751-2Hcllyrddp7C-7j5y-Pd2CiSXzGs6bR9HTq2Osyu3HO/s1600/IMG_2584.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgMwzpY0WR7xEPSAJRUJqStDFZaOrczwJ6cDaWu36FaM6kSnd0eqll0mx_dfyf15SO_Qf_cplihHUWfC8tovRGydPirtQew751-2Hcllyrddp7C-7j5y-Pd2CiSXzGs6bR9HTq2Osyu3HO/s320/IMG_2584.JPG" width="240" /></a><br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixK1hd7DOrVB0k5HXIqgPIuf89ZnFMsfUKVq04lYtt37AcCM8Py-XM3EwFg6ZF_pafVB3nRs0k_84Cvs68GwN1u4919_9StOqktkgCsRDeqtVIxxR6fX6Yb2TUvWjf54JWam3KN_tbu6qQ/s1600/IMG_2569.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixK1hd7DOrVB0k5HXIqgPIuf89ZnFMsfUKVq04lYtt37AcCM8Py-XM3EwFg6ZF_pafVB3nRs0k_84Cvs68GwN1u4919_9StOqktkgCsRDeqtVIxxR6fX6Yb2TUvWjf54JWam3KN_tbu6qQ/s320/IMG_2569.JPG" width="240" /></a>
<br />
<br />
In contrast, some of the clothing is rendered in relatively crisp detail or heightened color. The often subtly colored blurriness of the faces contrasts with the “cut out” aspect of the figure and the relative crispness or vividness of some of the clothing.<br />
<br />
The color palette is subtly luscious, sometimes seeming muddy at first glance but on closer inspection satisfyingly sophisticated, occasionally spiked with odd or firey hues in ways that seemed both substantively suggestive and aesthetically inspired. <br />
<br />
There is also a pronounced juxtaposition of disparate painting techniques, which might be considered postmodernist but again calls attention to itself, although the different techniques also seem strategically selected for the particular areas in which they’re used.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN_9teYOTZ5wRdUC4Wms7X7u3BxdT8AgYfpvjzJt69u48MYXXYmVBEx3WdCwnPYnNk12Rw_saOgLIe3sBsaBJbxgpLCn07db8XO0xsgaS5YgPxb2I0y6vpBBspO_CvdUcTrZhYpvKsp_v9/s1600/IMG_2565.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN_9teYOTZ5wRdUC4Wms7X7u3BxdT8AgYfpvjzJt69u48MYXXYmVBEx3WdCwnPYnNk12Rw_saOgLIe3sBsaBJbxgpLCn07db8XO0xsgaS5YgPxb2I0y6vpBBspO_CvdUcTrZhYpvKsp_v9/s320/IMG_2565.JPG" width="240" /></a>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyJliUua9IgHogiPcpYbxNb9OVN_U71rKExpYTchLYBtXeyaFzbPF51IaAJXCXateHm2okFfZ283-FFJ5eudViz53VBxbwkYtwqeJU-YcP-yQUGtSa6ASfdUKbI15gSKJs5V3ntnMVjkEK/s1600/IMG_2563.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyJliUua9IgHogiPcpYbxNb9OVN_U71rKExpYTchLYBtXeyaFzbPF51IaAJXCXateHm2okFfZ283-FFJ5eudViz53VBxbwkYtwqeJU-YcP-yQUGtSa6ASfdUKbI15gSKJs5V3ntnMVjkEK/s320/IMG_2563.JPG" width="240" /></a>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8FeJKUpJWLpEPWnIVcAVjOFsFXU9VZQYJ7TUfM6MKriZmNQOgRLuMU0GkAdgon3qm-oqUJ6tyM6_A0yFhz1ukDyMoLrCzfoAhMvRhEinJenffsyzQ0HZIfBC8QfLLJvYQv4SpsrGeaZuP/s1600/IMG_2566.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8FeJKUpJWLpEPWnIVcAVjOFsFXU9VZQYJ7TUfM6MKriZmNQOgRLuMU0GkAdgon3qm-oqUJ6tyM6_A0yFhz1ukDyMoLrCzfoAhMvRhEinJenffsyzQ0HZIfBC8QfLLJvYQv4SpsrGeaZuP/s320/IMG_2566.JPG" width="240" /></a>
<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipxL2bR-ZGHXEsCbUsUyHc8oSh-ZtTOrywbthaMehFPuo1_cHNfBkadQ9NrZsWQOfvmy_aka0ZHD2QuSJIAa4PeoP7jON1mjf8464M_cfpkCZ8mOOxLQTTeIUzCk-ZTKgBvRqwY4CV5_eu/s1600/IMG_2578.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipxL2bR-ZGHXEsCbUsUyHc8oSh-ZtTOrywbthaMehFPuo1_cHNfBkadQ9NrZsWQOfvmy_aka0ZHD2QuSJIAa4PeoP7jON1mjf8464M_cfpkCZ8mOOxLQTTeIUzCk-ZTKgBvRqwY4CV5_eu/s320/IMG_2578.JPG" width="240" /></a>
<br />
<br />
A number of the paintings are variations on the same photographs (see many of the images above, including, e.g., compare the outline of the figure with red sleeves resting along the bottom of the picture frame with the outline of the “floating” baby head shown near the beginning of this review); but the clothing, hair color, and facial features are morphed to greater or lesser degrees, as if suggesting, e.g., different realities in alternate universes, or realities that might occupy the same space at different times, or just different aspects of the subject (or the photo of the subject) as conjectured and/or expressed by the artist. It should be mentioned, however, that the paintings seemed to be hung in an order that obscured shared photographic sources.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2HGe8gWLmwAA4eRG8vYKxMnBlUZkdWsc-SM81xg789nAL_w8HokFlfMjpVLv-QvIgIym-cb1CMiphiij4bHVz3pDCppGcgZIu3H4RY-txvlXeFeEWaJ7XrWP4u_VVfYrZqwD9tAWJdgQM/s1600/IMG_2572.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2HGe8gWLmwAA4eRG8vYKxMnBlUZkdWsc-SM81xg789nAL_w8HokFlfMjpVLv-QvIgIym-cb1CMiphiij4bHVz3pDCppGcgZIu3H4RY-txvlXeFeEWaJ7XrWP4u_VVfYrZqwD9tAWJdgQM/s320/IMG_2572.JPG" width="240" /></a>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEA95nav9Jtf_0yDiqghqZsKp9mmwGPixiYosDGL2ZIJRIkkuKnOJSGScsF46VgHfVf6oT7GhN6GnE3fOT4pTS3-VtHPaUM6UHpHCXJP0PCC6LWmfILiR5qln-3YOwT7MoN_S0QGVs658D/s1600/IMG_2571.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEA95nav9Jtf_0yDiqghqZsKp9mmwGPixiYosDGL2ZIJRIkkuKnOJSGScsF46VgHfVf6oT7GhN6GnE3fOT4pTS3-VtHPaUM6UHpHCXJP0PCC6LWmfILiR5qln-3YOwT7MoN_S0QGVs658D/s320/IMG_2571.JPG" width="240" /></a>
<br />
<br />
Many of the images are of children probably too young to be self-conscious, but others seem more aware; and the poses of adults in two paintings seem almost theatrical – as if both heads were cut out from a photo in which a man looked down at a seated woman who looked up, returning his gaze in a stereotypically loving pose – but an uncertainty as to the full meaning of their facial expressions seems emphasized by the manner in which they’re presented.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr5Eow8FEnybqzC0DvlFn1kjvi2gh3K-JCebLUzFegopFCjFxPilxTUr6gKVu2ZWPi1eOT3CjpGzcaqrNcGdorncqWIIkk0EE1SFWT7nA321DQDC9N6vk_I_xfjP0tY7zTqNfYjTunMhRn/s1600/IMG_2589.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr5Eow8FEnybqzC0DvlFn1kjvi2gh3K-JCebLUzFegopFCjFxPilxTUr6gKVu2ZWPi1eOT3CjpGzcaqrNcGdorncqWIIkk0EE1SFWT7nA321DQDC9N6vk_I_xfjP0tY7zTqNfYjTunMhRn/s320/IMG_2589.JPG" width="240" /></a>
A last piece hung by itself around the corner is all but impenetrable – I was reminded of Rembrandt’s self-portraits; but this is much darker and murkier, as if the blackness of the backgrounds in most of the other paintings had finally engulfed the figure. At first glance, the head does not seem “cut out” from its context – it’s barely distinguishable at all, from its background or otherwise – yet closer inspection reveals a relatively sharp edge of darker paint delineating at least part of its outline – although both head and background are further obscured by sheer, lighter streaks hanging like haze between the painting's "subject" and its viewer, an effect atypical of this group of paintings. <br />
<br />
This richly complex body of work certainly complicates portraiture, while evoking thoughts about the accidents and deteriorations of photographic records and memory, as well as of intramedia translation; the relationships among subjects (that peculiarly ambiguous term), grounds, and contexts; processes of cognition and recognition, including our efforts to identify and define ourselves and others in the moment and over time, and how the results are intensified or contorted by emotion; the complexity and ultimate unknowability of individuals even when with us in person, and how a well-focussed photo seems to freeze reality in the moment, yet how even within the instant, Heisenbergian uncertainties swirl while a non-existent present continually passes; the seeming impossibility of ever penetrating to some more stable, underlying reality . . .<br />
<br />
Schwarz's paintings seemed to me beautifully strange and among the most interesting I’ve seen in a long time. Thanks to Goss-Michael for bringing them together and providing an opportunity to get a fuller appreciation of Schwarz’s multiplicitous methods and concerns.<br />
<br />
(The exhibition ran May 7, 2015 - June 30, 2015 at Goss-Michael Foundation, 1405 Turtle Creek Blvd., Dallas.)<br />
<br />c.http://www.blogger.com/profile/14655618504753353692noreply@blogger.com0tag:blogger.com,1999:blog-824533757695208952.post-8691500268268597872015-09-12T17:12:00.003-05:002015-09-13T12:43:54.369-05:00Belated, Shameless Plug: The Dallas Medianale<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHN1oJvGtuCE24W8l969CEICEjUVZBxltr2rGNmbJEfChshkKhPBARt0L8Sb8DPZbD3-cUQUuatH2ASG-FKxfZkJuTISx5sx3Rv7bKzxvfJ9DvC6sCwKr3BECUe9Sj46yZCZQWzds855rp/s1600/Medianale-Logo-Red-White_Stroked.gif" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="205" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHN1oJvGtuCE24W8l969CEICEjUVZBxltr2rGNmbJEfChshkKhPBARt0L8Sb8DPZbD3-cUQUuatH2ASG-FKxfZkJuTISx5sx3Rv7bKzxvfJ9DvC6sCwKr3BECUe9Sj46yZCZQWzds855rp/s320/Medianale-Logo-Red-White_Stroked.gif" width="320" /></a>The <i>Dallas Medianale</i> 2015 comprised installations, screenings, and intermedia performances at the MAC, Dallas, showcasing works by internationally renowned artists. Works ranged from iconic achievements in early video art to immersive performances radically repurposing obsolete video technology, curated by Michael A. Morris, Danielle Avram Morgan, Charles Dee Mitchell, and moi.<br />
<br />
Artists included !MedienGruppe Bitnik, Francis Alÿs, Cécile B. Evans, Kyle Evans + James Connolly/Cracked Ray Tube, Harun Farocki, Gary Hill, Liz Larsen/LZX Industries, Dani Leventhal, Jodi Mack, Sean Miller, My Barbarian, Bruce Nauman, Tara Nelson, Laure Prouvost, Sheila & Nicholas Pye, Jennifer Reeder, Michael Robinson, Lillian Schwartz, Joe Sola, Micah Stansell, Deborah Stratman, Harm van den Dorpel, Stan Vanderbeek, Addie Wagenknecht & Pablo Garcia, John Whitney, and many more.<br />
<br />
Details including press <a href="http://www.c-cyte.com/Dallas_Medianale_2015">here</a>. Look for the bi-annual event to reappear in 2017. <br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0g9dYn9SL0lhPlQRjJ4Xmaw8ifog_dp7WB3f_VvTT1Zx9qg9ydmvyMzk945GKjcw0z1hd3qckIJx1-lFtPQiXYtLD_fi0jDIx34P2ZWXTLeyDa5O-M4LBQflgJ7K0o0wP_-5Q46xiv60N/s1600/1+Hyperlinks+or+It+Didn%25E2%2580%2599t+Happen%252C+HD+video%252C+2014+Stroked1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0g9dYn9SL0lhPlQRjJ4Xmaw8ifog_dp7WB3f_VvTT1Zx9qg9ydmvyMzk945GKjcw0z1hd3qckIJx1-lFtPQiXYtLD_fi0jDIx34P2ZWXTLeyDa5O-M4LBQflgJ7K0o0wP_-5Q46xiv60N/s640/1+Hyperlinks+or+It+Didn%25E2%2580%2599t+Happen%252C+HD+video%252C+2014+Stroked1.jpg" width="500" /></a>c.http://www.blogger.com/profile/14655618504753353692noreply@blogger.com0tag:blogger.com,1999:blog-824533757695208952.post-43665856810552411142013-01-13T18:00:00.004-06:002016-12-08T21:30:09.659-06:00Sayonara for Now<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSM9A9kJZRisK4W-KlEBpmrLkugF6IENmhnN4KzyeiAB6DcjdtlXD7FyXXfbUvTg_0xxINbJwCu1JemAF1HdDidl7a-jgz9vjALVRngUU-3s6pvlYHvxArxTpFtUS2MxskAaxQiP10a7lK/s1600/Shake-Bat_Lighter.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSM9A9kJZRisK4W-KlEBpmrLkugF6IENmhnN4KzyeiAB6DcjdtlXD7FyXXfbUvTg_0xxINbJwCu1JemAF1HdDidl7a-jgz9vjALVRngUU-3s6pvlYHvxArxTpFtUS2MxskAaxQiP10a7lK/s400/Shake-Bat_Lighter.jpg" width="212" /></a></div>
<div class="GLVTYVNGTB">
As expected, Grrrgle has <i>not </i>relented and restored the Blogspot user interface (see <a href="http://c-cyte.blogspot.com/2012/10/to-google-and-my-readers.html">here</a>); so, for that and other reasons, I've decided to take an indefinite hiatus from this blog.<br />
<br />
If Grrrgle had any real imagination, they'd have offered bloggers the opportunity to purchase access to the old interface for a monthly fee. I'm sure a lot of bloggers would have taken them up on it, and Grrrgle could have made more money than they do on whatever cost savings or data mining they hope to exploit by forcing us onto the new interface.<br />
<br />
This blog was begun in April, 2007, this is my 1,426th post on it,
and Grrrgle tells me that, as of when I more or less stopped posting
last fall, <i>c-Blog</i> was averaging some 4,000 unique viewers per month.<br />
<br />
Thank you for your valuable attention through the years. I'll continue to work on various other projects, of course, and hope that you too will keep up the good work of helping to re-create our joint art project, the world. </div>
<div class="GLVTYVNGTB">
</div>
<div class="GLVTYVNGTB">
<br />
To the Batcave! </div>
<div class="GLVTYVNGTB">
</div>
<br />c.http://www.blogger.com/profile/14655618504753353692noreply@blogger.com0tag:blogger.com,1999:blog-824533757695208952.post-90001877252909733112012-11-21T09:13:00.000-06:002019-06-10T19:46:51.451-05:00[Not sure if this post had a title?]<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXdxxapRBDRcXxE2KcjhYDsSmDMpWVBxZIK6lGwzNvw75gTMSRizG7SHqc-8_eoMF6AjrnEtNsvVJ_SmIePjhwa0O8Rv9mh5NWic9YT-pBJ73aA20OnTicZRBRu067LtVVg3L8qqu9wSoo/s1600/Colen-WhoopeeCushion-IAF-2012-main.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="359" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXdxxapRBDRcXxE2KcjhYDsSmDMpWVBxZIK6lGwzNvw75gTMSRizG7SHqc-8_eoMF6AjrnEtNsvVJ_SmIePjhwa0O8Rv9mh5NWic9YT-pBJ73aA20OnTicZRBRu067LtVVg3L8qqu9wSoo/s400/Colen-WhoopeeCushion-IAF-2012-main.jpg" width="500" /></a></div>
Dan Colen, <i>TBT</i>, 2012, concrete filled whoopee cushion, 16.5 x 13 x 7 inches. At OHWOW's <i>It Ain't Fair </i>2012, Art Basel, Miami.c.http://www.blogger.com/profile/14655618504753353692noreply@blogger.com0tag:blogger.com,1999:blog-824533757695208952.post-7480067136962456422012-10-14T15:17:00.000-05:002012-10-14T15:41:20.858-05:00Critical Art Ensemble<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyST9VZmn64ZLsKg1Ohg0zvLTG0Va-LygyLP_ylrZbfdiCS1XKknBkGnPi2no5lja_ZwhsSyeQc6BBtTQShDlJa8pYxclVMID0OSr1-4TqP52LMJZKVvfi_IQk37MFrd6rVzlAwavGJwtL/s1600/CAE-WinningHeartsnMinds.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="289" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyST9VZmn64ZLsKg1Ohg0zvLTG0Va-LygyLP_ylrZbfdiCS1XKknBkGnPi2no5lja_ZwhsSyeQc6BBtTQShDlJa8pYxclVMID0OSr1-4TqP52LMJZKVvfi_IQk37MFrd6rVzlAwavGJwtL/s1600/CAE-WinningHeartsnMinds.jpg" width="300" /></a></div>
You can tell I'm researching for a curatorial project.<br />
<br />
Just came across this from CAE, re- their 2012 project, <i>Winning Hearts and Minds</i>, presented at documenta 13:<br />
<blockquote class="tr_bq">
<span style="color: #433b2d;">War zones are as instructive as they are destructive. Since Vietnam,
they have beautifully illustrated the contradiction between capitalism
and democracy. . . . The establishment of global democracy has never
been a goal of global capital. Its preference is for an authoritarian
plutocracy that can be labeled a democracy. This is why the psy-ops
principle of “winning hearts and minds” could simultaneously exist with
the military strategy of “search and destroy.” Now that winning hearts
and minds is not just US policy, but NATO policy, we can see it at work
in every conflict in which NATO members have a stake; in every case, the
idea of winning over the people through the alleged establishment of
democratic institutions never has to be reconciled with unprovoked
invasion, house-to-house searches, assassinations, torture, or drone
attacks . . . .</span><br />
<br />
<span style="color: #433b2d;">Cultural institutions in capitalist nations reflect this same disturbing set of contradictions and relationships. In the field of
visual arts, museums tend toward a support of plutocracy through
collection building and maintaining the value of collections by
functioning as a parallel track to the art market. Institutes,
Kunsthalles, and major festivals function as corporate alibis for good
cultural citizenship, and too often function within the frame of
research and development of cultural products in the service of profit
and enterprise. At the same time, these institutions have their
democratic side, which usually appears in the form of community
outreach, public programming, or education programs. These programs are
generally the most impoverished, but are staffed by those who genuinely
want to create events promoting social change (and are willing to accept
poverty as a given condition to do it). This blend of having few
resources together with a strong sense of volunteerism leads to the
development of low-cost public events that are subsidized by the free
labor of those who create them. Or to put it another way, <b>the poor
subsidize the creation of a false alibi that signifies the beneficence
of [the] plutocracy.</b> And yet, on an immediate person-to-person level, the
results of such performances, exhibitions, and events can be inspiring
and culturally valuable.</span> <br />
<span style="color: #433b2d;"></span></blockquote>
<blockquote class="tr_bq">
<span style="color: #433b2d;"> * * * * *</span> <br />
<span style="color: #433b2d;">Two weeks before the festival started, we issued a call for proposals to use the space for one hour each day at noon; there would be one hundred lunchtime events over the one hundred days. Proposals poured in from around the world. Even though we told those who applied that there was no financial support, and even worse, that they would have to bring all their own equipment, the program filled in a matter of weeks. Most of the events we chose were not curatorially viable (which is not to say we didn’t think they were good projects). As usual, the poor and the marginal were subsidizing the wealthy with free programming.</span></blockquote>
More at Critical Art Ensemble's <a href="http://www.critical-art.net/wham.html">website</a>.</p>c.http://www.blogger.com/profile/14655618504753353692noreply@blogger.com0tag:blogger.com,1999:blog-824533757695208952.post-22988522677460746202012-10-14T11:13:00.000-05:002012-10-14T11:15:30.199-05:00Soda_Jerk Re- Copyright<p><iframe allowfullscreen="allowfullscreen" frameborder="0" height="338" mozallowfullscreen="mozallowfullscreen" src="http://player.vimeo.com/video/34675675?title=0&byline=0&portrait=0" webkitallowfullscreen="webkitallowfullscreen" width="600"></iframe><br>
<br>
Soda_Jerk's site is <a href="http://www.sodajerk.com.au/">here</a>.</p>c.http://www.blogger.com/profile/14655618504753353692noreply@blogger.com0tag:blogger.com,1999:blog-824533757695208952.post-15899535828597478262012-10-14T10:33:00.002-05:002016-12-08T21:31:36.907-06:00To Google and My Readers<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ9fJgrh_o9pXzsX7nRkAOaldxJh1PQG-TaIWsy98rnuCTMFnncIZzY-0W9YQmwuQ_Cb61K8DeD_tFAakO8ZIQ0IhI8JO8wfI043euYwtHY1mfDcorm2hNlcsajijXG0cdXZ2SY0qveE3L/s1600/blogger.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="100" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ9fJgrh_o9pXzsX7nRkAOaldxJh1PQG-TaIWsy98rnuCTMFnncIZzY-0W9YQmwuQ_Cb61K8DeD_tFAakO8ZIQ0IhI8JO8wfI043euYwtHY1mfDcorm2hNlcsajijXG0cdXZ2SY0qveE3L/s400/blogger.png" width="100" /></a></div>
The new blogger interface imposed by Google is an unmitigated disaster.<br />
<br />
I'd have liked to post my curatorial essay re- <i><a href="https://www.facebook.com/ExpandedCinema">Expanded Cinema</a></i> here, but it's apparently become impossible to format it correctly unless I first take the time to learn whatever code it is that Google's now using. Searching for help, I get 11,099,961 hits of "I hate the new blogger interface."<br />
<br />
Since I won't be blogging much during the next couple of months anyway, I've decided to defer any drastic action 'til year-end in the hope that Google might perhaps either restore the Blogspot interface or fix some of the biggest problems created with the new one.<br />
<br />
But bottom line: if Google doesn't fix the problems by then and I'm going to be forced onto a more Wordpress-like platform, I might as well port to Wordpress, where I can have my privacy.<br />
<br />c.http://www.blogger.com/profile/14655618504753353692noreply@blogger.com0tag:blogger.com,1999:blog-824533757695208952.post-17191013184097718682012-10-08T17:54:00.000-05:002012-10-08T18:24:38.665-05:00R. Luke DuBois<p>Doing some curating for my next project, <i>Co- Re-Creating Spaces</i>, an exhibition opening on Nov. 17 at <a href="http://www.centraltrak.net/">CentralTrak</a> (in Dallas, TX), and enjoying the research.<br />
<br />
<iframe src="http://player.vimeo.com/video/13792228?color=ffffff" width="600" height="338" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe></p>
The artist explains,<br />
<blockquote class="tr_bq">
<i>Kiss</i> takes 50 iconic embraces from the history of cinema and re-animates them through a non-photorealistic rendering technique developed by the artist. The technique analyzes the footage by looking at details in the source that resemble the lips of the kissing actors and redrawing them with points tinted to match the colors of the original film. Because the computer schematizes lips in a mathematically abstract, and not particularly accurate, manner, all sorts of details fit this criteria, causing the software to highlight not only lips but hair, details in clothing, and portions of the cinematic backdrop. The artist then creates a vectorization of these 'points of interest' akin to a cats-cradle, connecting all the dots to create a work of moving string-art that entwines the actors performing the kiss in a new, geometric embrace of connecting lines. A deliberate misuse of computer vision, <i>Kiss</i> evokes the embrace-as-viewed, tracing the trajectory of our gaze with an abstract connectivity akin to our mirror neurons firing when we feel the romance underneath these cinematic objects. The soundtrack of the piece subjects the non-diegetic soundtrack of the kissing scenes to an auditory time-lapse effect, creating a feedback network that underscores and propels the imagery.
</blockquote></p>
c.http://www.blogger.com/profile/14655618504753353692noreply@blogger.com1tag:blogger.com,1999:blog-824533757695208952.post-2942476963189827072012-09-24T00:47:00.002-05:002012-09-24T00:48:26.125-05:00Fight Bite - Charlotte Iris<p>Seriously, Google has made it very difficult for me to even get in here to post, let alone format anything.
<p></p>
Anyway, quick share:
<p></p>
<iframe allowfullscreen="allowfullscreen" frameborder="0" height="309" mozallowfullscreen="mozallowfullscreen" src="http://player.vimeo.com/video/49148592?title=0&byline=0&portrait=0&color=ffffff" webkitallowfullscreen="webkitallowfullscreen" width="550"></iframe>
<p></p>
(Thanks, Sally!)</p>c.http://www.blogger.com/profile/14655618504753353692noreply@blogger.com0tag:blogger.com,1999:blog-824533757695208952.post-14222604110958512762012-09-22T01:45:00.000-05:002012-09-22T01:49:31.051-05:00I've Got the Pwr<p><iframe allowfullscreen="allowfullscreen" frameborder="0" height="360" src="http://www.youtube-nocookie.com/embed/z33tH-JdPDg?rel=0" width="480"></iframe><br />
<br />
(Thanks, Danette!)</p>c.http://www.blogger.com/profile/14655618504753353692noreply@blogger.com1tag:blogger.com,1999:blog-824533757695208952.post-69250241827024361332012-09-22T01:03:00.000-05:002012-10-25T13:22:29.896-05:00Google Destroying Blogspot?<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgONgAbKwe7L5BjF22qUYynVNyEN0ZE11m8kozMUilOv55bmWs2G8VytMqT5DuQfMTKK28qmKiLNUp5IRh98dkPN57Pih8hSgVoD3ew-i8P6-XxFkgbnw6uHiaG-9PeYF0PFBIoJSOLJBuz/s1600/Obama-2012_Romney-1040.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgONgAbKwe7L5BjF22qUYynVNyEN0ZE11m8kozMUilOv55bmWs2G8VytMqT5DuQfMTKK28qmKiLNUp5IRh98dkPN57Pih8hSgVoD3ew-i8P6-XxFkgbnw6uHiaG-9PeYF0PFBIoJSOLJBuz/s400/Obama-2012_Romney-1040.jpg" width="400" /></a></div>
or just making my life more difficult.
We blogspotters have been forced onto an interface that looks more like Wordpress, which as far as I can tell is clunkier and gives us less control. I've considered migrating to Wordpress before – I could host my blogs on my own server and have greater privacy, etc. – but rejected it because the blogspot user interface was superior. Google has chosen to trash that advantage.<br />
<br />
Testing image control and positioning with the image right.<br />
<br />
Ok, maybe I can get used to this, but where the h*ll do I enter labels? <br />
<br />c.http://www.blogger.com/profile/14655618504753353692noreply@blogger.com0tag:blogger.com,1999:blog-824533757695208952.post-19178546736465268682012-09-16T22:07:00.007-05:002013-03-10T00:54:43.874-06:00"Expanded Cinema"<br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_0U-Sx1IeFjHI6jo9w6J88ToYNULasyQz1LWcFIYIBxlIx5cWeG9K8cc8QpE-HrEWYnWkgHU9roTe5Is-WPO413M8JqsBmWN401BSyGPONcLyj57aNNiShYExRq6FPcf6ht99U-Sggcdn/s1600/EC_for_Blog.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5788985372470192850" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_0U-Sx1IeFjHI6jo9w6J88ToYNULasyQz1LWcFIYIBxlIx5cWeG9K8cc8QpE-HrEWYnWkgHU9roTe5Is-WPO413M8JqsBmWN401BSyGPONcLyj57aNNiShYExRq6FPcf6ht99U-Sggcdn/s1600/EC_for_Blog.jpg" style="cursor: hand; cursor: pointer; float: left; height: 550px; margin: 0 10px 10px 0; width: 379px;" /></a>Sorry to be so scarce here lately; I've been working on another big project. <b>The 25th Dallas VideoFest opens on Sept. 26 with a screening of new video art works created especially for the LED display on the exterior walls of the <a href="http://www.omnihotels.com/FindAHotel/DallasHotel.aspx">Omni Dallas Hotel</a>.</b> I'll have a new piece of my own in the program, and have also been the coordinator/compiler for it, and before that, Ben Britt and I also created a template to enable myself and the other artists to make their works. We expect the audio for the initial screening to be simulcast on public radio <a href="http://kxt.org/listen/">KXT 91.7 FM</a> public radio.<br />
<br />
The show is called <b><i>Expanded Cinema</i></b>, in honor of pioneering new media art theorist Gene Youngblood (whose seminal book by the same title is seen as the first to propound video's potential as a fine art medium, and who will speak at the <a href="http://www.dm-art.org/">Dallas Museum of Art</a> as part of the fest on Sat., Sept. 29). (Image left shot by Danielle Georgiou at a test screening.)<br />
<br />
The show will include works by 14 artists selected by Bart, Michael A. Morris, and me, including Kari Altmann, Frank Campagna, Tim Capper, Rebecca Carter, Jeff Gibbons, Andrea Goldman, Mona Kasra, Kyle Kondas, Phil Lamb, Shane Mecklenburger, Mike Morris, Edward Setina, Jenny Vogel, and me. <b><i>Expanded Cinema</i> starts at 8:00 PM</b>; pls watch for announcements re- a viewing location (generally, the best views will be from the south near the Houston St. Viaduct and Jefferson St. Bridge, along the far levy from the hotel).<br />
<br />
<b>The remaining 4 days of the 25th Dallas VideoFest will take place at the Dallas Museum of Art. The all-fest pass is a steal at $50; tickets <a href="http://videofest.org/tickets/">here</a>.</b> In past years there've been some 250 videos to choose from; I think there may be slightly fewer this year, but with perhaps a greater proportion of the kinds you might find in an art gallery, for what that's worth, since I, Mike Morris, and Dee Mitchell helped curate in addition to the festival Director, Bart Weiss.<br />
<br />
<b>PS:</b> I wrote an <b>article for art+seek in honor of the 25th VideoFest, <a href="http://artandseek.net/2012/09/12/looking-back-looking-forward-carolyn-sortor/">here</a></b>, discussing some of my favorite videos shown at VideoFests past and how they relate to some of my favorites in the present, including works by Cindy Sherman, Sadie Benning, Martha Rosler, Mary Reid Kelley, and many more.<br />
<br />
<b>UPDATE:</b> You can now see the piece I made for the program, <i>Braille</i>, <a href="http://www.c-cyte.com/video/source/braille.html">here</a>. More info about <i>Expanded Cinema</i> and the works in it <a href="http://www.c-cyte.com/video/source/Background_Sans_AC.pdf">here</a>.<br />
<br />c.http://www.blogger.com/profile/14655618504753353692noreply@blogger.com0tag:blogger.com,1999:blog-824533757695208952.post-29480730009124152922012-09-16T21:40:00.009-05:002012-09-16T22:04:06.107-05:00I Love the Aesthetics of this Video<p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcDqgg7wmUmghvUaYzv2S55e0QFmGN-iOdlx7tbM4butnMsrfG3HCE56QnIrdsiTSNnk20Z2qVdaoUBPEYV9oaNxj0iVYYH42xPtVVrOvVoOB3mlUBdyIa6GvKnxAFRgtH17LSETmR-wqR/s1600/Naked_Tourist.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 400px; height: 255px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcDqgg7wmUmghvUaYzv2S55e0QFmGN-iOdlx7tbM4butnMsrfG3HCE56QnIrdsiTSNnk20Z2qVdaoUBPEYV9oaNxj0iVYYH42xPtVVrOvVoOB3mlUBdyIa6GvKnxAFRgtH17LSETmR-wqR/s400/Naked_Tourist.jpg" alt="" id="BLOGGER_PHOTO_ID_5788975439042235570" border="0" /></a> If you've never seen "Naked tourist in Japanese moat," just <b><a href="http://news.bbc.co.uk/2/hi/7656537.stm">go</a></b> (sadly, embedding is not an option).</p>c.http://www.blogger.com/profile/14655618504753353692noreply@blogger.com0tag:blogger.com,1999:blog-824533757695208952.post-58363372960560192762012-08-29T13:52:00.002-05:002012-08-29T14:01:00.131-05:00Mars<p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCjuB9n0onGKp1YYBew6dICNplBT1KHdwbBagxHXSw5_yVVTw-HdDYPePGmKGKXBtEQ3Oc-gALwz7CJqzOoM5h0yJqE4dyTY831iAyTnlswL0TSRlQpEcHeZjIJ8AMinhbUbhLjcKcT6nE/s1600/Mars.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 456px; height: 600px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCjuB9n0onGKp1YYBew6dICNplBT1KHdwbBagxHXSw5_yVVTw-HdDYPePGmKGKXBtEQ3Oc-gALwz7CJqzOoM5h0yJqE4dyTY831iAyTnlswL0TSRlQpEcHeZjIJ8AMinhbUbhLjcKcT6nE/s1600/Mars.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5782172008456674562" /></a>Thanks, <a href="http://www.nasa.gov/mission_pages/mars/images/index.html">NASA</a>! (More at the link.)<br /></p>c.http://www.blogger.com/profile/14655618504753353692noreply@blogger.com1tag:blogger.com,1999:blog-824533757695208952.post-88513487866689604202012-08-27T13:53:00.018-05:002012-08-27T21:45:44.549-05:00Dallas VideoFest 25th Anniversary Party!<p><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;" src="http://www.c-cyte.com/images/Treetin_Family-SM.gif" title="animated gif image" border="0" /><i>I'm throwing a party tonite F-U-N it's called "Experiments in </i>[Video],<i>" bring everything that you own!</i> (paraphrasing one of my fave videos brought to you by the Video Association of Dallas). And it's coming right up, on<b> Sept. 14</b>! But I'm not throwing it, <a href="http://amspictures.com/">AMS Pictures</a> is; and you don't need to bring <i>everything</i> you own, <b>just $25</b>.<br /></p><p>The event will feature a micro-fest of old VideoFest faves, a silent auction, and of course, a preview of what's to come at the 25th Dallas VideoFest! A panel of guests will also discuss their favorite VideoFest moments; the guests include:<br /></p><blockquote> Ed Bark, TV critic and blogger<br />Manny Mendoza, former <i>DMN</i> TV critic and filmmaker<br />Mark Birnbaum, filmmaker<br />moi, video artist<br />Katie Gimenez, Director of Networking at Plano Chamber of Commerce (and former DVF Festival Coordinator)</blockquote>Come get prep'd for the fest, help re-create the world as a more interesting, fun place (another quote from Treetin: [s]<i>how me something beautiful and I will go on</i>) by contributing to a great organization, and party! – more info <a href="http://c-cyte.com/acrobat_docs/VAD_25Years_Print.pdf">here</a>, and <b>tickets <a href="https://www.eventbrite.com/event/3875922990">here</a></b>!<p></p>c.http://www.blogger.com/profile/14655618504753353692noreply@blogger.com0tag:blogger.com,1999:blog-824533757695208952.post-39579119524999383462012-08-24T09:24:00.013-05:002012-08-24T10:42:00.175-05:00Back to the Future of Video Art<p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY03hGo_vnzv_xDV-gRvu5QZvMb_Yzqn86MLTlQinNno0E7pzW_SQVwSWmJPgZuSGB3JXOMUtaX1tkIw8X-gflfji7aVSyUEu-WcHLMjiqnlIW8e2g-PBXhZjWz_QGl0RtqvFCVycrmeWh/s1600/FourNights-PowerStation.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 259px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY03hGo_vnzv_xDV-gRvu5QZvMb_Yzqn86MLTlQinNno0E7pzW_SQVwSWmJPgZuSGB3JXOMUtaX1tkIw8X-gflfji7aVSyUEu-WcHLMjiqnlIW8e2g-PBXhZjWz_QGl0RtqvFCVycrmeWh/s1600/FourNights-PowerStation.jpg" alt="" id="BLOGGER_PHOTO_ID_5780251142716431698" border="0" /></a>The history of video art includes lots of wonderful work, much of which is rarely seen; but you'll have a few chances to catch up soon.<br /><br />First, <a href="http://powerstationdallas.com/">the Power Station</a> will host four nights of video art from the past thru the present:<br /></p><blockquote>Aug. 30, video art from the 70's, selected by Mike Morris;<br />Sept. 6, from the 80's, selected by Ben Lima;<br />Sept. 13, from the 90's, selected by Jenny Vogel;<br />Sept. 20, from the 00's, selected by Nadav Assor.</blockquote>All shows start at 7:30PM; the Power Station is located at 3816 Commerce, Dallas.<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6jTXD677c5zITECKh_5UaVO6PBCXQWy9eRPTLb7Xkx8PT7EmMScMQMepwRCaY0Zm-U4dlwc2TVoaXoo-ZAXLKOA8TunGxc1XsT4qnXQll4j85YysNf0tYzPa1WCoW4KisY9khtkSuKPng/s1600/VF25-Videohead.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 259px; height: 322px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6jTXD677c5zITECKh_5UaVO6PBCXQWy9eRPTLb7Xkx8PT7EmMScMQMepwRCaY0Zm-U4dlwc2TVoaXoo-ZAXLKOA8TunGxc1XsT4qnXQll4j85YysNf0tYzPa1WCoW4KisY9khtkSuKPng/s1600/VF25-Videohead.jpg" alt="" id="BLOGGER_PHOTO_ID_5780255452596638866" border="0" /></a>Meanwhile, on Sept. 14 at 7PM, <a href="http://amspictures.com/">AMS Pictures</a> will host a 25th anniversary bash for the Dallas VideoFest featuring 3 rooms with screenings of favorites from past festivals, a panel briefly discussing their faves, and a program previewing Director Bart Weiss's picks from this year's festival. Tickets to this fundraiser are only $25 per person or $40 per couple.<br /><br />And that brings us to the <a href="http://videofest.org/">Dallas VideoFest</a> itself, which is making new history by opening on Sept. 26 with a program of video art works created especially for and displayed on the four curved walls of the <a href="http://www.omnihotels.com/FindAHotel/DallasHotel.aspx">Omni Hotel, Dallas</a>. <br /><br />The remaining 4 days of the festival, most of which is dedicated to contemporary works, will take place at the <a href="http://www.dm-art.org/">Dallas Museum of Art</a>. The all-fest pass is a steal at $50; tickets <a href="http://videofest.org/tickets/">here</a>. More details about the VideoFest to come.<p></p>c.http://www.blogger.com/profile/14655618504753353692noreply@blogger.com0tag:blogger.com,1999:blog-824533757695208952.post-80150664872389722472012-08-19T13:17:00.003-05:002012-08-19T13:22:27.345-05:00New DB12<p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKhwi3VmDUgdW5btSpMY-jxmV4yaePrh9JRrGe2TFrozlsXyN_mjZ6YAyiCUCP8VONXlh-mHnS3VuiSbLTCPrF4VpJsYawzt54MzRRBmbPh4UYIjpv8nKyMwNb9AW8UJMMoAOhoqPe4Uum/s1600/DB12-Matt_Hanner.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 400px; height: 266px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKhwi3VmDUgdW5btSpMY-jxmV4yaePrh9JRrGe2TFrozlsXyN_mjZ6YAyiCUCP8VONXlh-mHnS3VuiSbLTCPrF4VpJsYawzt54MzRRBmbPh4UYIjpv8nKyMwNb9AW8UJMMoAOhoqPe4Uum/s400/DB12-Matt_Hanner.jpg" alt="" id="BLOGGER_PHOTO_ID_5778450111198507298" border="0" /></a>The new volume, curated by Stephen Lapthisophon, is up <a href="http://dallasbiennial.org/volume-2/matt-hanner-27-drawings/">here</a>.<br /></p>c.http://www.blogger.com/profile/14655618504753353692noreply@blogger.com0tag:blogger.com,1999:blog-824533757695208952.post-50746813241961907422012-08-19T01:37:00.008-05:002012-08-19T01:49:28.016-05:00Route Opened for Donations to Wikileaks<p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4QvJfcoHhod4PpgWcs0WzWqWPwOxbciRModKJzQX5zJZSDgTq07y4HQ9Gx092dnG84uQwvZW9Rl7lau1lnoD5Xli8XpDvUDLe-YY_pu0F6bZ1SW36FtBr74yHHfBqpF6s-0MX2Kk6B3qd/s1600/Wikileaks_Donations.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 400px; height: 283px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4QvJfcoHhod4PpgWcs0WzWqWPwOxbciRModKJzQX5zJZSDgTq07y4HQ9Gx092dnG84uQwvZW9Rl7lau1lnoD5Xli8XpDvUDLe-YY_pu0F6bZ1SW36FtBr74yHHfBqpF6s-0MX2Kk6B3qd/s1600/Wikileaks_Donations.jpg" alt="" id="BLOGGER_PHOTO_ID_5778271535830728754" border="0" /></a>Per <a href="http://wlcentral.org/node/2734">WL Central</a>,<br /></p><blockquote><span style="color:#12124d;">After almost two years of fighting an unlawful banking blockade by U.S financial giants VISA and MasterCard, WikiLeaks has announced it is back open for donations.<br /><br />After WikiLeaks' publications revealing U.S. war crimes and statecraft in 2010, U.S. financial institutions erected a banking blockade against WikiLeaks wholly outside of any judicial or administrative process. The blockade came during a time of substantial economic growth for WikiLeaks but blocked over 95% of donations, costing the organization in excess of USD 20M.<br /><br />The Wau Holland Transparency Reports for WikiLeaks' finances, released today, illustrate the financial consequences of 18 consecutive months of economic censorship. For the year 2011, the blockade resulted in WikiLeaks' income falling to just 21% of its operating costs.<br /><br />WikiLeaks has been forced to run on its cash reserves at the Wau Holland Foundation, which have diminished from EUR 800K at the end of December 2010, to less than EUR 100K at the end of June 2012. As the graph shows, WikiLeaks' reserve funds will expire at the current austere rate of expenditure within a few months. In order to effectively continue its mission, WikiLeaks must raise a minimum of EUR 1M immediately.</span></blockquote>More at the link above. You can donate <a href="http://wikileaks.org/donate">here</a> – that's direct from WL Central and should be reliable; I just donated.<p></p>c.http://www.blogger.com/profile/14655618504753353692noreply@blogger.com0tag:blogger.com,1999:blog-824533757695208952.post-69190861457680726102012-08-19T00:55:00.000-05:002012-08-19T00:56:00.780-05:00And Now for Some Nomi:<p><iframe width="420" height="315" src="http://www.youtube-nocookie.com/embed/gma5IUNMTn0?rel=0" frameborder="0" allowfullscreen></iframe></p>c.http://www.blogger.com/profile/14655618504753353692noreply@blogger.com0tag:blogger.com,1999:blog-824533757695208952.post-78837531686936807312012-08-18T23:15:00.024-05:002012-08-27T21:41:00.474-05:00Dallas VideoFest 25<p> . . . makes a big entrance with <b>a program of new video art</b> created especially <b>for the nearly 200-foot high display system on the exterior walls of the Omni Hotel</b>, Dallas, at <b>8:30PM on Wednesday, Sept. 26</b> . The program is entitled, <b><i>Expanded Cinema</i></b>, borrowed from the 1970 book of the same title by seminal new media theorist <b><a href="http://www.artpractical.com/feature/profile_gene_youngblood/">Gene Youngblood</a></b> (see also this <a href="http://c-cyte.blogspot.com/2011/04/gene-youngblood-re-new-art-of-video.html">previous post</a>), who will give a <b>lecture</b> at the festival, <span style="font-style:italic;">Secession from the Broadcast: The Internet and the Crisis of Social Control</span>, at <b>3PM on Sunday at the DMA</b>, Horchow Auditorium.<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit0Ivd6BjTWBCqkZoSCb3F1ESakB2A8unPuy62KBQAClWtC8pSzEGocJ60mwOuJP5QOal7ijgGhlKAMpFm3D2RhpT7YQWvqTE1iwEcZti8D1FHbSIJs71BR_gnjWbfgkOyjFutEG3EtEy9/s1600/SHANE_OMNEY_STILL.tiff"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 600px; height: 117px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit0Ivd6BjTWBCqkZoSCb3F1ESakB2A8unPuy62KBQAClWtC8pSzEGocJ60mwOuJP5QOal7ijgGhlKAMpFm3D2RhpT7YQWvqTE1iwEcZti8D1FHbSIJs71BR_gnjWbfgkOyjFutEG3EtEy9/s1600/SHANE_OMNEY_STILL.tiff" alt="" id="BLOGGER_PHOTO_ID_5778238186843416210" border="0" /></a>The image right is from <i>OMNEY</i>, one of the videos to be included in <i>Expanded Cinema,</i> by Shane Mecklenburger, who provided the transcription of Youngblood's talk at the latter link. The Omni display completely wraps the building; hence the weird aspect ratio. (Full disclosure: I'm helping to organize the program and will have a piece in it.)<br /><br />Because of the unique characteristics of the Omni "screen," most of the artists had to re-invent their approach to an extent perhaps greater than usual, in order to create works that might exploit the potential of this new platform while adapting to its requirements and continuing to explore the concerns with which they prefer to engage in their aesthetic practices. They have risen to the challenge, and the resulting works are gorgeous and fascinating.<br /><br />The rest of the VideoFest will be at the Dallas Museum of Art, Sept. 26 - 30; block out your calendar! It's shaping up to be one of the best fests yet. As the dates approach, I hope to post more details here, including a chronological schedule with program descriptions all in one page.<br /><br />But go ahead and <b>buy tickets for the fest</b> (I recommend full immersion), find more info, or (please!) donate at <b><a href="http://www.videofest.org/">videofest.org</a></b>. You can also donate via Kickstarter <a href="http://www.kickstarter.com/projects/videofest25/25th-annual-dallas-videofest">here</a>.<br /><br />Here's an auditory blast from the past, ca. early Gene Youngblood . . .<br /><br /><iframe src="http://www.youtube-nocookie.com/embed/rGaRtqrlGy8?rel=0" allowfullscreen="" frameborder="0" height="315" width="420"></iframe><br /><p></p>c.http://www.blogger.com/profile/14655618504753353692noreply@blogger.com0tag:blogger.com,1999:blog-824533757695208952.post-80608521366624783582012-08-10T20:43:00.010-05:002014-10-07T15:36:41.389-05:00An Apparently Rambling Tho' Covertly Somewhat Coherent Post<p> . . . that allows me to touch on several interesting yet diverse topics while making a few perhaps unexpectedly related points:<br /><br />I've done virtually nothing to promote this blog; my own family and most of my friends don't read it.<br /><br />So I was rather pleased and surprised to find recently that Google's Blogspot Stats say that, since Google bought Blogspot ca. May, 2008, <i>c-Blog</i> has averaged ca. 4,000 hits per month. (And I don't think too many could be from spammers, since I rarely receive spam comments.)<br /><br />My most popular posts have been on the <a href="http://c-cyte.blogspot.com/2009/11/hajj-arabic-hagg-is-pilgrimage-to-mecca.html">Hajj</a>, the <a href="http://c-cyte.blogspot.com/2012/05/yes-lab-strikes-again-in-dallas.html">Yes Lab</a>, <a href="http://c-cyte.blogspot.com/2008/07/update-program.html">Matthew Barney and Ryan Trecartin</a>, <a href="http://c-cyte.blogspot.com/2008/07/what-obama-wrote-in-guestbook-at.html">Obama re- the Holocaust</a>, and the <a href="http://c-cyte.blogspot.com/2009/03/trends-in-works-shown-at-2009-ny-art.html">2009 NYC Art Fairs</a>.<br /><br />Somehow, my comments on Barney's and Trecartin's works drew 116 page views this week. But the Hajj post remains the all-time big hitter, with the Obama re- the Holocaust post not far behind.<br /><br />In the <a href="http://c-cyte.blogspot.com/2009/11/hajj-arabic-hagg-is-pilgrimage-to-mecca.html">Hajj</a> post, I simply gave a short description of Hajj based on info found at Wikipedia: "The Hajj (Arabic: حج Ḥaǧǧ) is a pilgrimage to Mecca. It is currently the largest annual pilgrimage in the world, and is the fifth pillar of Islam, a moral obligation that must be carried out at least once in their lifetime by every able-bodied Muslim who can afford to do so. . . ."<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9UrSediHi7QTxtyfTIYyF7VyhUQ704vQEQpYsOz4_zd__2_cQPKFpQ15-42zRVlRnxCNhSGClD3tfHNQgauY2uSte62wZoFwROqTI3V9F4RdZAihx6G6Y7KTfEk9j16bl0KiDxfgvEgrD/s1600/Santa_03_013-CroppedSM.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 500px; height: 355px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9UrSediHi7QTxtyfTIYyF7VyhUQ704vQEQpYsOz4_zd__2_cQPKFpQ15-42zRVlRnxCNhSGClD3tfHNQgauY2uSte62wZoFwROqTI3V9F4RdZAihx6G6Y7KTfEk9j16bl0KiDxfgvEgrD/s1600/Santa_03_013-CroppedSM.jpg" alt="" id="BLOGGER_PHOTO_ID_5775231622795481890" border="0" /></a>In the <a href="http://c-cyte.blogspot.com/2008/07/what-obama-wrote-in-guestbook-at.html">Obama re- the Holocaust</a> post, I pasted a copy of his words written in the guest book at Israel's Holocaust Memorial (see below).<br /><br />None of us ever knows really what it is we've managed to do that might actually turn out to have been the most helpful toward whatever we really hoped most to help.<br /><br />In Coleridge's <i>Biographia Literaria </i>and other writings, he periodically referred to this book he thought he should write, the <i>Logosophia</i>. He never finished that book. But maybe the <i>Biographia</i>, perhaps together with his other works, through indirection, sufficiently constituted the work he thought we needed? At least, it influenced me.<br /><br />Two years before my father died, he threw his last big tantrum that I witnessed. (It was at that late date that I finally recognized that "tantrum" was what it was that he'd been doing throughout our lives whenever necessary to get his way.) During the only slightly less excruciating, semi-apologetic wind-down, he told me things that made plain he remained utterly deluded as to both his greatest accomplishments and his greatest failings as a parent.<br /><br />But just because he utterly misunderstood his real accomplishments, didn't mean there weren't any; there were.<br /><br />A lot of people hoped Obama might help re- the Middle East. Here's a transcript of his hand-written words at the Holocaust Memorial:<br /></p><blockquote><span style="font-size:85%;">I'm grateful to Yad Vashem and all of those responsible for this remarkable institution. At a time of great peril and promise, war and strife, we are blessed to have such a powerful reminder of man's potential for great evil, but also our capacity to rise up from tragedy and remake our world. Let our children come here, and know this history, so that they can add their voices to proclaim "never gain." And may we remember those who perished, not only as victims, but also as individuals who hoped and loved and dreamed like us, and who have become symbols of the human spirit.</span></blockquote>We can't know if Obama will ever live up to the promise he showed. All we can do is try to <i>be </i>the promise that he showed.<p></p>c.http://www.blogger.com/profile/14655618504753353692noreply@blogger.com0tag:blogger.com,1999:blog-824533757695208952.post-3869109415817877812012-08-09T02:01:00.001-05:002012-08-09T02:02:08.870-05:00Far as I can tell . . .<p>this is factually accurate:<br /><br /><iframe width="560" height="315" src="http://www.youtube-nocookie.com/embed/5v4PWW301JM?rel=0" frameborder="0" allowfullscreen></iframe>c.http://www.blogger.com/profile/14655618504753353692noreply@blogger.com0tag:blogger.com,1999:blog-824533757695208952.post-70011534903762054692012-08-06T14:39:00.005-05:002012-08-19T02:03:01.010-05:00Haruhiko Kawaguchi<p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilTrtaCXjoyaBialwTe0clFUl5Rqm6t4DI5Iv3uX0QMbo2X6IPp0HIGj52LVSjMjEjjrJ0aLBsWx-ZjtuC_Qsv_pBjhPwUahyphenhyphens-JDgADmbrpZSbuKWclwYiiY_8NhzJN9mZ0gWOeySrwpM/s1600/Haruhiko-Kawaguchi-550x734.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 408px; height: 550px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilTrtaCXjoyaBialwTe0clFUl5Rqm6t4DI5Iv3uX0QMbo2X6IPp0HIGj52LVSjMjEjjrJ0aLBsWx-ZjtuC_Qsv_pBjhPwUahyphenhyphens-JDgADmbrpZSbuKWclwYiiY_8NhzJN9mZ0gWOeySrwpM/s1600/Haruhiko-Kawaguchi-550x734.jpg" alt="" id="BLOGGER_PHOTO_ID_5773647603115910594" border="0" /></a>I want to squeeze her, too. More at <a href="http://www.odditycentral.com/pics/japanese-photographer-tries-to-keep-love-fresh-forever-by-wrapping-it-in-vacuumed-plastic-bags.html">Oddity Central</a> (thanks, Ben!)<br /></p>c.http://www.blogger.com/profile/14655618504753353692noreply@blogger.com0tag:blogger.com,1999:blog-824533757695208952.post-7302596100398358842012-08-06T14:13:00.007-05:002012-08-06T14:34:30.946-05:00Wozniak: Cloud Computing Will Cause "Horrible Problems"<p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdBiz_c8E7GWiwEEiiTObdBclfMpIajbJiwDW7NWC6IS5Fzj0Gc4XVtpbt5uCyYvMkLYPlcycnZr9yGSnNsQMZCle0HngLCTX8tKLeQ_ZF8R8SCSptr6AprTVhSgmH0K5B8QjdBIv0-yoy/s1600/Woz-n-Jobs.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 400px; height: 311px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdBiz_c8E7GWiwEEiiTObdBclfMpIajbJiwDW7NWC6IS5Fzj0Gc4XVtpbt5uCyYvMkLYPlcycnZr9yGSnNsQMZCle0HngLCTX8tKLeQ_ZF8R8SCSptr6AprTVhSgmH0K5B8QjdBIv0-yoy/s1600/Woz-n-Jobs.jpg" alt="" id="BLOGGER_PHOTO_ID_5773643064752727170" border="0" /></a>"Wozniak didn't offer much in the way of specifics . . . . [but said, 't]he more we transfer everything onto the web, onto the cloud, the less we're going to have control over it.'" <a href="https://en.wikipedia.org/wiki/Steve_Wozniak">Steve Wozniak</a> was the inventor of the Apple I and Apple II computers.<br /><br />More at <i><a href="http://www.businessinsider.com/steve-wozniak-cloud-computing-will-cause-horrible-problems-in-the-next-five-years-2012-8">Business Insider</a></i>. You can find more re- the kinds of problems I worry about by clicking on the label, "Worldbeam," at the bottom of this post.</p>c.http://www.blogger.com/profile/14655618504753353692noreply@blogger.com3tag:blogger.com,1999:blog-824533757695208952.post-38030611593745610562012-08-03T22:48:00.000-05:002012-08-03T22:49:16.239-05:00In honor of the Olympics<p><iframe width="420" height="315" src="http://www.youtube-nocookie.com/embed/XGwIyzrlOMQ?rel=0" frameborder="0" allowfullscreen></iframe></p>c.http://www.blogger.com/profile/14655618504753353692noreply@blogger.com0