Tuesday, January 31, 7:00pm
Light Industry, 155 Freeman Street, Brooklyn, NY

Kristina Talking Pictures
Yvonne Rainer, 1976, 16mm, 90 mins

Kristina Talking Pictures is a narrative film inasmuch as it contains
a series of events that can be synthesized into a story if one is
disposed to do so. (A European woman lion-tamer comes to America and
takes… up choreography.) The film can also be characterized by its
discursions from a strict narrative line via reflections on art, love,
and catastrophe sustained by the voices of Kristina, the
heroine-narrator, and Raoul, her lover.

Within its form of shifting correlations between word and image,
persona and performer, enactment and illustration, explanation and
ambiguity, KTP circles in a narrowing spiral toward its primary
concerns: the uncertain relation of public act to personal fate, the
ever-present possibility for disparity between public-directed
conscience and private will.

Having just put your check to Amnesty International in the mailbox,
you are mugged….or discover you have cancer….or perhaps you betray
an old friend. Nothing can ensure that we remain honorable, nor save
us from betrayal and death.

In the next-to-last shot a love letter is recited. So you see, things
aren’t all that bad.
- Yvonne Rainer

Tickets - $7, available at door.
Please note: seating is limited. First-come, first-served. Box office
opens at 6:30

Tuesday, January 31, 7:00pm
Light Industry, 155 Freeman Street, Brooklyn, NY

Kristina Talking Pictures
Yvonne Rainer, 1976, 16mm, 90 mins

Kristina Talking Pictures is a narrative film inasmuch as it contains
a series of events that can be synthesized into a story if one is
disposed to do so. (A European woman lion-tamer comes to America and
takes… up choreography.) The film can also be characterized by its
discursions from a strict narrative line via reflections on art, love,
and catastrophe sustained by the voices of Kristina, the
heroine-narrator, and Raoul, her lover.

Within its form of shifting correlations between word and image,
persona and performer, enactment and illustration, explanation and
ambiguity, KTP circles in a narrowing spiral toward its primary
concerns: the uncertain relation of public act to personal fate, the
ever-present possibility for disparity between public-directed
conscience and private will.

Having just put your check to Amnesty International in the mailbox,
you are mugged….or discover you have cancer….or perhaps you betray
an old friend. Nothing can ensure that we remain honorable, nor save
us from betrayal and death.

In the next-to-last shot a love letter is recited. So you see, things
aren’t all that bad.
- Yvonne Rainer

Tickets - $7, available at door.
Please note: seating is limited. First-come, first-served. Box office
opens at 6:30

YOUNG PROJECTS
Opening Thurs Jan 26, 6:00-8:30  Runs through March 2, 2012. B210 & B230 Pacific Design Center, West Hollywood, CA 90069. 11-5 Tues-Friday. Free admission. 323-377-1102

Main Gallery:
 An Inducement, A Deliquescence, A Pungency Enveloped in a Caress: Recent Video Work by Matthew Weinstein

Project Space: 
Suspension: A Two Person Exhibition with Reynold Reynolds and Kevin Cooley

An Inducement, A Deliquescence, A Pungency Enveloped in a Caress: Recent Video Work by Matthew Weinstein

YoungProjects is proud to present the first solo exhibition of Matthew Weinstein in Los Angeles. The New York-born artist has shown at the Denver Museum, the Mint Museum (NC), The Wexner Center (Ohio), Portugal Arte 10 (Lisbon), Musee Matisse (Paris) Kunsthalle Vienna, Pinakothek der Moderne (Munich) and many others. His work is also included in the Metropolitan Museum of Art’s permanent collection, as well as other key collections.

Weinstein is known for creating sophisticated 3D animation work that uses the kind of visual language generally associated with major animation studios such as Pixar and DreamWorks (i.e. advanced software, motion-capture, and professional actors and musicians including Tony award winners Natasha Richardson, Hope Davis, Dennis O’Hare, Blair Brown and the Balkan Beat Box). However, the artist’s esthetic draws mostly from his painting and sculptural practice, which draws equally from antiquity as it does Pop art, Ikigama and classic cinema. Here porcelain pigs and candy-colored koi perform perverse musical numbers and soliloquies alike, often addressing the viewer directly. The result is an otherworldly, often hallucinogenic experience that remains utterly unique within the realm of contemporary art.

An Inducement, A Deliquescence, A Pungency Enveloped in a Caress, a line taken from Joris-Karl Huysmans’ famous celebration of artifice, Against Nature, (1884) will present most of Weinstein’s most recent animations, including the West Coast premier of his latest, The Childhood of Bertold Brecht, which the artist calls a “non-narrative musical tale of disillusionment and greed.” (Brecht’s theories of theater have long been an influence on the artist). Chariots of the Gods, 2009, (ft Natasha Richardson, 17 mins); Siam, 2008, (14 mins); Three Love Songs From the Bottom of the Ocean (14 mins) and more will be presented.”

Suspension: A Two-Person Exhibition with Reynold Reynolds and Kevin Cooley

“YoungProjects is pleased to present Suspension, a two-person show exploring the relationship between time and image through the work of the Berlin-based experimental film artist, Reynold Reynolds and the New York-based Kevin Cooley.

The exhibition was designed as a response to our epoch’s troubled relationship to time, which the author Mary Ann Doane attributes to “the prevalence of, and the adaptation to, Cinematic Time,” by culture at large. The show will include Cooley’s large-scale ceiling projection, Skyward (2012), which presents a series of disparate time-based moments that have been seamlessly woven together into a unified whole. Beginning in downtown Los Angeles and ending high above Pacific Palisades the piece literally stitches together LA’s disparate ecologies while creating an impossibly long tracking shot through LA’s famously horizontal environs. Yet as a kind of rebuttal to Gursky and Crewdson’s “godlike” camera, the viewer’s POV remains earthbound, which in turn creates a seductive meditation on expansiveness.

Reynolds, who originally studied physics before being tutored by the filmmaker Stan Brakhage, uses a combination of stop motion techniques and rigorously staged mise-en-scene to create extraordinary cinematic works that zero in on the tension between the frozen, recorded moment and celluloid movement. Three dual channel works, Secret Life (2008), Secret Machine (2009) and Six Easy Pieces (2010) will be included, as well as a 4-channel work, Seven Days Till Sunday, which was co-directed by the Irish artist, Patrick Jolly. (The piece is In Memoriam, after Jolly’s passing earlier this month)

Reynolds has received numerous awards for his experimental films and installations, including the festival award at the European Media Arts Festival Osnabrueek; First Prize at the Black Maria Film Festival, and First Prize at the SxSW Film Festival. He has also presented his work at the Tate Modern, the New Museum of Contemporary, PS1, the Berlin Biennale, the Moscow Biennial, the Guangzhou Triennial, and the Museo d’Arte Contemporanea, Roma.

Cooley has shown his photographs and videos at the Swiss Institute NY, White Columns, Massimo Audiello, Site UK and is included in a number of important private and public collections including the Solomon R Guggenheim Museum.

Cooley’s work at YoungProjects is in conjunction with the Paul Kopeikin Gallery, which will be showing Cooley’s photographs concurrently. Skyward was partially funded by the Experimental Television Fund.”

-JO

Sloss, Kerr, Rosenberg & Moore by Ann Carlson and‬ ‪Mary Ellen Strom 2007‬

“Four New York City attorneys perform a seminal work by choreographer Ann Carlson. Blending gesture, rhythm, voice, and text, this humorous and compelling performance plays with urban masculinity through the lens of a lawyer’s day. The performance inspired Carlson/Strom’s 2007 video Sloss, Kerr, Rosenberg & Moore, which will be on view in the Krupp Gallery (Gallery 264) when the Linde Family Wing opens. “

I saw this video in November at the MFA in Boston. I just loved it and found it today on youtube.

-JO

Portland has a new experimental film and video festival!

When I moved to Portland ten years ago, one of the first video-related shows I attended was the PDX Film Fest. Matt McCormick, building on his popular Peripheral Produce screening series, spearheaded the PDXFF and helped maintain its playful spirit for many years. In the midst of an always impressive roster of screenings and workshops, PDXFF hosted the tongue-in-cheek “World Championship of Experimental Cinema” where audiences played bingo for door prizes while format changes occurred in the projection booth. Art Office’s own Julie Orser was crowned champion in 2006! When the PDXFF shuttered its doors after the 2009 iteration, a hole was left in the local scene.

Fast forward to the present— there’s a new kid in town. The folks over at Grand Detour, following a similar trajectory as McCormick, have established Experimental Film Festival Portland.

“EFFPortland was sparked by the desire to fill the current need for a Portland-based experimental media festival. A major impetus of the festival is to showcase the works of local media artists through a program of screenings, installations, artist talks, and hands-on workshops open to the general public. The festival will also feature work by national and international experimental media artists. The intention is to provide Portland audiences with a window into the diversity of work being created around the globe and connect local, national and international artists.”

The submission deadline is fast approaching (February) and the festival will take place in May. They are encouraging submissions of the wildest variety. How about we help them out?

-SSlappe

PNCA Announces New BFA Program in Video and Sound


Launching Fall 2012

PORTLAND, OR – January 6, 2012 – In recognition of the fact that moving images and sound have become central modes of communication and self-expression in the 21st century, Pacific Northwest College of Art (PNCA) announces its tenth BFA program, Video and Sound, launching Fall 2012.

The BFA in Video and Sound at PNCA investigates video and sound as disciplines both distinct and allied. Students in this program acquire practice-based media literacy, a multi-modal approach toward video and sound arts, and the critical, aesthetic, and technical skills vital to contemporary cultural production. The principles of video and sound are taught in hands-on learning environments, where students focus on gaining technical skills as a means to express ideas through structure, pace, rhythm, and the interplay between image and sound. Emphasis is placed on the making and presenting of single and multi-channel works in a variety of screening and listening environments. To this end, students will engage in in-depth research and draw on the rich histories and interconnections between video art, sound art, experimental film and music, installation, performance, and network culture.

“PNCA’s Video and Sound program was designed with the acute awareness of this unique moment in media art history,” says Video and Sound Chair Stephen Slappe. “Robust, easy-to-use software and relatively affordable equipment have made the means of production readily available to young creators. The Video and Sound program at PNCA offers students a solid conceptual background to deepen the quality of their engagement with these media while facilitating inventive forms of expression and communication. In addition to teaching the technical skills needed to work with video and sound, we encourage students to explore the potential of mobile spectatorship, gaming interfaces, performance strategies, network culture, and a long list of other contemporary ideas.”

“That PNCA is launching a program in video and sound makes great sense,” says Provost, Greg Ware. “Because the College is located in Portland, Oregon, a city with a wealth of artists and practitioners, businesses, and cultural enterprises engaged in these media, opportunities abound for students in this program. Additionally, with PNCA’s emphasis on cross-departmental exchange and learning, I can readily imagine extraordinary collaborations occurring between students enrolled in this new program and students in for example, Illustration, Animated Arts, Intermedia, and Communication Design.”

Slappe recently returned from a European tour that included research, the screening of a program he curated, Out of the Great Northwest, at The Horse Hospital (London), and participation in a closed seminar at Chelsea College on the subject of Moving Image Art and the Global Media Spectacle. In years past, Slappe has exhibited and screened internationally in venues such as Portland Institute for Contemporary Art’s TBA Festival, The Sarai Media Lab (New Delhi), Consolidated Works (Seattle), Centre for Contemporary Art (Glasgow), and Artists’ Television Access (San Francisco). His projects have been funded by multiple grants from the Regional Arts and Culture Council of Portland and an Individual Artist Fellowship from the Oregon Arts Commission. Slappe is currently Assistant Professor in Intermedia at Pacific Northwest College of Art where he teaches Video, Sound, and Theory and Practice courses. He is an active curator and organizer of video and film exhibitions including most recently, New Mutants at Worksound Gallery (Portland). Slappe is an amateur film archivist and has presented three programs of archival 16mm films entitled Rolling Deep: Skateboarding Films 1965-1980, Static Age: The Culture of Early Television, and Drugs, Disease, and Disaster. Slappe holds an MFA from the University of South Carolina.

art141scripps:

Millions of Americans oppose SOPA and PIPA because these bills would censor the Internet and slow economic growth in the U.S.
Two bills before Congress, known as the Protect IP Act (PIPA) in the Senate and the Stop Online Piracy Act (SOPA) in the House, would censor the Web and impose harmful regulations on American business. Millions of Internet users and entrepreneurs already oppose SOPA and PIPA.
The Senate will begin voting on January 24th. Please let them know how you feel. Sign this petition urging Congress to vote NO on PIPA and SOPA before it is too late.

-JO

art141scripps:

Millions of Americans oppose SOPA and PIPA because these bills would censor the Internet and slow economic growth in the U.S.

Two bills before Congress, known as the Protect IP Act (PIPA) in the Senate and the Stop Online Piracy Act (SOPA) in the House, would censor the Web and impose harmful regulations on American business. Millions of Internet users and entrepreneurs already oppose SOPA and PIPA.

The Senate will begin voting on January 24th. Please let them know how you feel. Sign this petition urging Congress to vote NO on PIPA and SOPA before it is too late.

-JO

Tags: Censorship


PERFORMANCE AT POMONA It Happened at Pomona SATURDAY, JANUARY 21 | 5:00 - 7:30 PM POMONA COLLEGE CAMPUS LOCATIONS RAIN OR SHINE  5:00 PM Preparation F, a 1971 performance by John White involving the Pomona College football team (Memorial Gymnasium, Rains Center).  6:00 PM A Butterfly for Pomona, a new pyrotechnic performance by Judy Chicago (Merritt Football Field), based on her Atmosphere performances of the early 1970s. 6:45 PM Burning Bridges, a recreation of JamesTurrell’s 1971 flare performance (Bridges Auditorium). In conjunction with the “It Happened at Pomona” exhibition and as part of the Pacific Standard Time Performance and Public Art Festival, “Performance at Pomona” consists of a series of three performance pieces by artists represented in each of the three segments of the exhibition.
Preparation F, a 1971 performance by John White  John White staged two performances in 1971 at Pomona College at the invitation of Helene Winer: Preparation F and Wooded Path. White has made a significant contribution to California art for more than four decades as an innovative and highly respected performance artist, accomplished painter, sculptor, and teacher. The night of the performance in 1971, the football team entered the site in street clothes, carrying their uniforms. They then proceeded to undress, then dress again in their football uniform, and scrimmage in the gallery. This historic performance will be re-created at Pomona, in Memorial Gym.
A Butterfly for Pomona, a new pyrotechnic performance by Judy Chicago  This new pyrotechnic performance by Judy Chicago is inspired by her 1970 Atmosphere performance at Pomona College. This new work returns to the series of environmental/performance works, called Atmospheres, that she staged around California between 1969 and 1974. These works combined commercial fireworks and road flares in ephemeral “paintings” of colored smoke that hovered and dissipated in air currents. Chicago explained the work as a way to soften and feminize the environment. These works may be seen as a bridge between earlier conceptual minimalist work and her later socio-political figurative work.
Burning Bridges, a recreation of JamesTurrell’s 1971 flare performance This event recreates James Turrell’s 1971 flare performance. In 1971, he staged Burning Bridges, a work utilizing highway flares in and around the arcaded façade of Bridges Auditorium, the central building on Marston Quad at Pomona College. At dusk, students (who were already in place in the alcoves) lit orange flares simultaneously. Almost immediately, the building was aglow with a brilliant orange hazy light and smoke.
“Performance at Pomona” is free and open to the public. An information booth will be hosted from 3-7 p.m. in the Pomona College Museum of Art. Free parking is available in Pomona College campus lots and street parking along Bonita Avenue and College Avenue. Handicapped parking is available on 4th Street near Bridges Auditorium.  Food provided by Pomona College Catering will be available for purchase along Stover Walknear Marston Quad. Please call 909-621-8283 for more information.   “Performance at Pomona” is generously supported by The Getty Foundation and the Philip and Muriel Berman Foundation.
Map-JO 

PERFORMANCE AT POMONA
It Happened at Pomona
SATURDAY, JANUARY 21 | 5:00 - 7:30 PM
POMONA COLLEGE CAMPUS LOCATIONS
RAIN OR SHINE

5:00 PM Preparation F, a 1971 performance by John White involving the Pomona College football team (Memorial Gymnasium, Rains Center).

6:00 PM A Butterfly for Pomona, a new pyrotechnic performance by Judy Chicago (Merritt Football Field), based on her Atmosphere performances of the early 1970s.

6:45 PM Burning Bridges, a recreation of JamesTurrell’s 1971 flare performance (Bridges Auditorium).

In conjunction with the “It Happened at Pomona” exhibition and as part of the Pacific Standard Time Performance and Public Art Festival, “Performance at Pomona” consists of a series of three performance pieces by artists represented in each of the three segments of the exhibition.

Preparation F, a 1971 performance by John White John White staged two performances in 1971 at Pomona College at the invitation of Helene Winer: Preparation F and Wooded Path. White has made a significant contribution to California art for more than four decades as an innovative and highly respected performance artist, accomplished painter, sculptor, and teacher. The night of the performance in 1971, the football team entered the site in street clothes, carrying their uniforms. They then proceeded to undress, then dress again in their football uniform, and scrimmage in the gallery. This historic performance will be re-created at Pomona, in Memorial Gym.

A Butterfly for Pomona, a new pyrotechnic performance by Judy Chicago This new pyrotechnic performance by Judy Chicago is inspired by her 1970 Atmosphere performance at Pomona College. This new work returns to the series of environmental/performance works, called Atmospheres, that she staged around California between 1969 and 1974. These works combined commercial fireworks and road flares in ephemeral “paintings” of colored smoke that hovered and dissipated in air currents. Chicago explained the work as a way to soften and feminize the environment. These works may be seen as a bridge between earlier conceptual minimalist work and her later socio-political figurative work.

Burning Bridges, a recreation of JamesTurrell’s 1971 flare performance This event recreates James Turrell’s 1971 flare performance. In 1971, he staged Burning Bridges, a work utilizing highway flares in and around the arcaded façade of Bridges Auditorium, the central building on Marston Quad at Pomona College. At dusk, students (who were already in place in the alcoves) lit orange flares simultaneously. Almost immediately, the building was aglow with a brilliant orange hazy light and smoke.

“Performance at Pomona” is free and open to the public. An information booth will be hosted from 3-7 p.m. in the Pomona College Museum of Art. Free parking is available in Pomona College campus lots and street parking along Bonita Avenue and College Avenue. Handicapped parking is available on 4th Street near Bridges Auditorium. Food provided by Pomona College Catering will be available for purchase along Stover Walknear Marston Quad. Please call 909-621-8283 for more information. “Performance at Pomona” is generously supported by The Getty Foundation and the Philip and Muriel Berman Foundation.

Map

-JO 

(Source: art141scripps)

Patricia Esquivias @ Hammer Museum, UCLA

Videos narrate historical and personal anecdotes in still shots of the artist’s laptop, wall, or desk—we see only her hands playing with and gesturing about images while her halting, accented voice comments.

—VF

Patricia Esquivias @ Hammer Museum, UCLA

Videos narrate historical and personal anecdotes in still shots of the artist’s laptop, wall, or desk—we see only her hands playing with and gesturing about images while her halting, accented voice comments.

—VF

 
Open Call Volume 20: The Cinematic
OPEN CALL DUE APRIL 1, 2012 
ASPECT: The Chronicle of New Media Art, a biannual DVD publication, is currently accepting submissions of time-based work for V20: THE CINEMATIC. 
New genres of artmaking are heavily informed by the cultural, formal, and theoretical issues surrounding popular cinema. We seek works that explore the complex relationship between cinema and new media. We will review installation, video, performance, sound and any other work best documented in time-based format. 
ASPECT asks artist/commentator pairs to submit proposals of time-based work. Commentators may be curators, historians, critics, or educators who can offer a distinct perspective on the work. Criteria for selection will include the qualifications of the commentator and the quality of the work. Audio recordings of the commentary will be assembled after the submissions have been selected. 
SUBMISSIONS MUST INCLUDE: -Video documentation (less than 15 minutes in length) -A brief (100 word) statement regarding the submitted work -Resume of the artist, resume of commentator -Contact information for the commentator and artist -Brief notes outlining the proposed commentary w/ respect to theme 
Submissions must be received by April 1, 2012, sent to*: ASPECT: The Chronicle of New Media Art 46 Waltham Street, suite 108, Boston, MA 02118 617.695.0500 * please do not ship with signature required

Open Call Volume 20: The Cinematic

OPEN CALL DUE APRIL 1, 2012 

ASPECT: The Chronicle of New Media Art, a biannual DVD publication, is currently accepting submissions of time-based work for V20: THE CINEMATIC. 

New genres of artmaking are heavily informed by the cultural, formal, and theoretical issues surrounding popular cinema. We seek works that explore the complex relationship between cinema and new media. We will review installation, video, performance, sound and any other work best documented in time-based format. 

ASPECT asks artist/commentator pairs to submit proposals of time-based work. Commentators may be curators, historians, critics, or educators who can offer a distinct perspective on the work. Criteria for selection will include the qualifications of the commentator and the quality of the work. Audio recordings of the commentary will be assembled after the submissions have been selected. 

SUBMISSIONS MUST INCLUDE: 
-Video documentation (less than 15 minutes in length) 
-A brief (100 word) statement regarding the submitted work 
-Resume of the artist, resume of commentator 
-Contact information for the commentator and artist 
-Brief notes outlining the proposed commentary w/ respect to theme 

Submissions must be received by April 1, 2012, sent to*: 
ASPECT: The Chronicle of New Media Art 
46 Waltham Street, suite 108, Boston, MA 02118 
617.695.0500 
* please do not ship with signature required

Tags: Submission