Friday, December 2, 2011

Mark Boulos

All That is Solid Melts Into Air (2008)


Excerpt from the two channel video installation (5 of 15 mins total)
Panel one: Traders at the Chicago Exchange buy, sell, and speculate oil futures
Panel two: Natives of the Niger Delta revolt over corporate occupation

Title taken from the Communist Manifesto

Collection of the Miami Art Museum

Monday, November 21, 2011




BURCHILL/MCCAMLEY
Pre Paradise Sorry Now (neon), 2001
neon, waferweld board, electrical cable and transformer
35 x 180 x 112 cm








SYDNEY, AUSTRALIA- Two of Australia's best-known contemporary artists Janet Burchill and Jennifer McCamley are set to exhibit one of their latest collaborative works using neon lights and sculpture. An essentially 20th-century phenomenon, neon is largely associated with advertising and the glitter of big-city retail. It's also a medium Burchill and McCamley have used together extensively in the past and they are well aware of its visual impact, particularly in Sydney.For this exhibition Burchill and McCamley are proposing to exhibit a new neon sculpture built around a 'found' sentence. Yet in contrast to the pop, bold lights of Sydney's cityscape, the artists aim to create a fragile site sensitive experience, which communicates the visual power of language. Perhaps there is something uncanny about glass tubes flooded with a poisonous inert gas, contorted into odd shapes, shuddering with electric current.Language and the language of art have often been central to their work. Their neon sculptures constitute part of an ongoing series and a major new strand of their collaborative activities. The language that comprises the neon is 'found', with most phrases coming from literature or film. The titles, however, do not relate to the content of the film but are chosen for their poetic attitude and ability to condense many ideas into something succinct.About their choice of title and process, Burchill and McCamley have said: While there is often an element of homage in the choices, the pieces aren't primarily meant to invoke the original work. Titles are chosen because of the tenor and sentiment that they evoke and, in a way, our selection constitutes a new type of genealogy of art. The titles we choose have a hard poetic tenor, a tenor which is carried through in the materiality of the artworks. We aim to make our works highly condensed, both materially and conceptually.



Pre-Paradise Sorry Now
Rainer Werner Fassbinder, the most brilliant exponent of the German New Wave Cinema, also made a startling contribution to the theatre scene with his AntitheatrePre-Paradise Sorry Now, one of his most disturbing and nightmarish theatre works, is an exploration of human brutality. The central plot material has to do with an actual case: the famous English "Moors Murders," committed by Ian Brady and Myra Hindley. Fassbinder uses the murderers and their demented longing for a neo-fascist "paradise" to ridicule notions of man's higher nature. He surrounds them with a black-comedy circus of thugs, whores, transvestites and exploiters who enact repetitive cycles of violence that force us to examine the society we have made and the principles upon which it functions. Perversely entertaining, deeply serious, it is a chilling journey that takes us into the dark heart of human behavior and challenges us to change it.


Karen Finley - Impulse to Suck






From the site fracturedatlas.org


Karen Finley
Impulse to Suck: The Performance of the Apology and the Separation of Sex and State
Performance and pencil drawings, 2008


"Karen Finley was in Albany, New York on March 10 to waiting to hear a speech from Eliot Spitzer on Reproductive Health. Instead later that day, Spitzer performed an apology with his supportive, devastated wife standing beside him. Finley will speak about the performance of the apology, the erotic transference of the media's fixation on Spitzer's frown and the emotional starring role for his wife, Silda.


Finley will perform her latest spoken word text which examines the confession, the apology, the imagining of the sexual encounter, the travel of the escort, the compulsion, the immigrant father's plan for his son to succeed and the couples imagined therapy sessions. Looking at the psychodrama in the intimacy of our political leaders, Finley poses to see the agony of the son's need for the approval from the father and the ancient wrestling of the ancient wrestling of the feminine archetypes of mother and whore."


Roula



DIANA THATER - CHERNOBYL

28 January – 5 March 2011, Hauser & Wirth London, Piccadilly
Opening: Thursday 27 January 6 – 8 pm
A new video installation by Diana Thater will fill the interior of Hauser & Wirth’s Piccadilly gallery with images of the post-nuclear landscape of Chernobyl. For this work, Thater spent time in the ‘Zone of Alienation’ which surrounds the site of the nuclear disaster, filming the eroded architecture and wildlife of the one-hundred mile wide radioactive territory. The animals she films have managed to survive amid the devastation of the only existing post-human landscape, demonstrating a wilderness of man’s making. The installation focuses on the rare and endangered Przewalski’s Horse. Once facing certain extinction in its native habitat in central Asia, this sub-species of the wild horse now roams freely in the ‘Zone of Alienation’.
The desolate remains of an abandoned movie theatre in Prypiat, a city founded to house the Chernobyl nuclear plant workers, will form the backdrop of Thater’s installation. The city’s decomposing architecture will be juxtaposed against the footage of the wild animals living in the ‘Zone of Alienation’. Through this installation, visitors will experience a world where a man-made catastrophe has abruptly halted all progress and animals inhabit an irradiated landscape. Overlaying physical and filmic spaces, Thater confronts the successes of civilisation with its profound failure.
For over two decades Thater has explored the precarious relationship between culture and nature. Frequently using animals and natural phenomena as subjects, her video installations are compositions of time and space. Their precisely choreographed imagery forms temporal abstractions that immerse the viewer in ambient environments and invite new ways of seeing the world.
PETA



A Measure of Remorse (2009) 
single channel video installation
color with sound
HD video 10:00 minutes
Shanghai protest against Japanese text books, April 2005 (2009)
photo transfer to paper
12 x 9 inches
Address by Japanese Prime Minister Junichiro Koizumi at the Asia-African Summit, April 2005 (2009)
ink transfer to paper
12 x 9 inches
This project was provoked by the life of writer Iris Chang, author of The Rape of Nanking (1998), which brought intense and overdue attention to the Japanese military atrocities committed against the Chinese in WW II. Exploring historical violence and the nature of apology through language, the body, desire, and trauma, the video re-imagines a confrontation on PBS in 1998 between Chang, the Japanese ambassador to the U.S., and journalist Elizabeth Farnsworth. The video is not a re-enactment of the past, but rather a kind of future made dark and deeply sensual, almost as an effect of Chang’s suicide in 2004. It raises questions about the effect of performative utterances - like an apology - when it comes to historical violence. The three figures acknowledge hurt, even death, and ask us about the claims our memories and voices can make against the past.


Please watch the video below


Sunday, November 20, 2011

Bruce Conner "Mea Culpa" (w David Byrne and Brian Eno)


"Mea Culpa" (1981)
Bruce Conner

This is a Bruce Conner film called Mea Culpa.  It was a collaboration between Conner and musicians Brian Eno & David Byrne.  The voice is sampled from an "inflamed caller and smooth politician replying,  both unidentified. Radio call-in show, New York, July 1979."  --What're you saying? He said "I'm sorry, I committed a sin, I made a mistake. I asked (?????) to forgive me... please forgive me." He said "Mea Culpa," can you put it better? "I'm saying I'm sorry, I made a mistake, I made... I committed a sin, I made a mistake. And I'm never gonna do it again, I never did it before and I'm never gonna do it again."  

-Dane

Thursday, November 17, 2011

Phobias Workshop



The Sketch Show UK

ola

The Big Question: Are apologies for historical events worthwhile or just empty gestures?


From the Independent....


So what's the latest one?
The Prime Minister, Tony Blair, has just been holding forth about "how profoundly shameful the slave trade was", in the run-up to the 200th anniversary next year of the outlawing of the practice on British ships. He didn't just praise those who fought for its abolition, but also expressed "our deep sorrow that it ever happened".

That's not exactly an apology
No, it's more an expression of regret. These historical/political apologies often are. Part of the problem is that, philosophically speaking, you can only properly apologise for something you have done. And these public statements are often on behalf of people other than the speaker, or even those he - and it's usually a bloke - represents. Mr Blair's last big public expression of regret was for English indifference to the plight of the Irish people during the potato famine of the 1840s.

No saying sorry over Iraq, then?
You're missing the point. Look at Bill Clinton. When he went to Africa he apologised for the world's inaction during the genocide in Rwanda. Not just his inaction, or Washington's, but that of the whole world. Sorry is not that hard to say when you're apologising for something someone else did. It's when we're to blame ourselves that the words tend to stick. "I did have a relationship with Miss Lewinsky that was not appropriate" and it was "a personal failure on my part". Indeed.

Where does this fashion for apology come from?
The last Pope was the real trendsetter. John Paul II apologised for no fewer than 94 things - from the Crusades, to the Inquisition, to the church's scientific obscurantism over Galileo, its oppression of women and the Holocaust. He did it throughout the 1980s and 1990s as a preparation for the new millennium. You can't heal the present, he insisted, without making amends for the past.

Everyone caught the bug. F W de Klerk apologised to the Truth and Reconciliation Commission for apartheid, or at least for the "many unacceptable things that occurred during the government of the National Party". Jacques Chirac apologised for the help the Vichy government gave the Nazis in deporting French Jews to death camps. The Japanese Prime Minister has apologised for the whole of the Second World War. And Boris Yeltsin apologised for the mistakes of the Bolshevik Revolution on its 80th anniversary in 1997.

Aren't they all just weasel words?
There is undoubtedly, shall we say, a wide range of motivation at work here. Some, such as George Bush's statements on the torture of Iraqi prisoners in Abu Ghraib - "what took place in that prison does not represent the America that I know" - may sound like an apology but they are actually a defence dressed up as condolences.

Others, like Mr Blair's latest on slavery, may well be a pre-emtive strike. By offering empathy rather than any suggestion of inherited guilt, the Prime Minister gets his retaliation in first against any attempt to suggest that Britain ought next year to be paying compensation to some group. "When we blame ourselves," as Oscar Wilde noted, "we feel that no one else has the right to blame us." Less cynically, one might observe, strategic apologies may be motivated by the speaker's attempt to change how others perceive them, or keep relationships intact.

So political apologies are just exercises in damage limitation?
They certainly risk being perceived as that. When Pope John Paul II in 1998 formally apologised for centuries of Catholic anti-Semitism and its failure to combat Nazi persecution of the Jews, many people felt he had not said enough. He made no mention of the silence of the 1940s pope, Pius XII, on the Holocaust.

Others are more forgiving. When John Paul II visited Judaism's holiest site, the Western Wall, he placed a piece of paper between the stones of the temple, as devout Jews do, which stated: "We are deeply saddened by the behaviour of those who in the course of history have caused these children of yours to suffer." No actual apology, some noted grumpily. But to many Jews, the symbolic power of the Pope's presence in that place was a more effective apology than words could ever be.

Have there been any other good apologies?
Yes, even when they didn't sound much. Often you find they are part of a process. The early apologies to the Aborigines by figures of in the Australian establishment began weakly but increased in strength over the years, and have been accompanied by some reparative actions.

You have to allow people time. In 1984 Japan's Emperor Hirohito alluded to the Second World War as "an unfortunate period in this century". It was the first step. In 1991, on the 50th anniversary of Pearl Harbour, the Japanese parliament considered apologising for the attack (but then decided not to do so).
But two years later the country's prime minister, Morihiro Hosokawa, declared the war had been "a mistake" and spoke of "a feeling of deep remorse and apologies for the fact that our country's past acts of aggression and colonial rule caused unbearable suffering and sorrow for so many people".
In Britain, too, Tony Blair's much-derided remarks on the Irish potato famine were followed, a year later, by him apologising for Bloody Sunday, in which 19 civilians were massacred in 1972 by the British Army. Not long after, the IRA made an unprecedented apology for the civilians killed in its 30 year "armed struggle". Peace dropping slowly.

How can you say sorry for something someone else did?
Many people think you can't. A lot of people in the Vatican didn't like Pope John Paul II's excessive breast-beating. One group lobbied the man who was then Rome's doctrinal watchdog, Cardinal Joseph Ratzinger, declaring that "you cannot apply a modern mentality to the actions of past centuries". Many historians agree; judging the past by the standards of the present is intellectually dishonest. We are all children of our time.

But a reluctance to square up to the wrongs of the past is often political. Many of John Paul II's critics feared that all his admissions that the church had been wrong in the past would give ammunition to critics who think it is wrong about a lot today. "As regards the sins of history," said Cardinal "Barmy" Biffi of Bologna, "would it not be better for all of us to wait for the Last Judgement?" Most people think that is a little too long a wait.

Are politicians' apologies a waste of time? 


Yes...
* They never apologise for things they've actually got wrong, only the mistakes of dead people, who can't answer back
* You can't judge the moral culpability of the past by the very different standards of the present
* Many politicians use apologies about the past as an excuse for inaction in the present


No...
* They are part of a long, slow process of public healing that may begin with words and end with actions
* Change in the real world can be a long journey and the apologies can be the milestones
* Sometimes even politicians tell the truth, and from time to time they may feel genuinely sorry for the mistakes of their predecessors

See link...
http://www.independent.co.uk/news/uk/politics/the-big-question-are-apologies-for-historical-events-worthwhile-or-just-empty-gestures-426138.html

Peta (via Juan)
Sam Durant

Sam Durant (born 1961 in Seattle, WA) is a multimedia artist whose works engage a variety of social, political, and cultural issues. Often referencing American history, his work explores the varying relationships between culture and politics, engaging subjects as diverse as the civil rights movement, southern rock music, and modernism.

The breadth of his practice (not this work in particular) is worth a look.

Wednesday, November 16, 2011

Joseph Beuys - Monument to Auschwitz


Joseph Beuys drew this work in 1959 on an envelope bearing on its left corner the seal of an international organization of Auschwitz survivors. Both characters look like shadows on the verge of disappearing. Death has his right arm round the girl's shoulder and his head close to hers. Surprisingly, the young girl looks as fleshless as him and stands in the same position. Is she already dead? Or a survivor of the Holocaust, as the seal on the envelope seems to indicate? Be that as it may, Beuys pushed the theme of Death and the maiden as far as possible. It's hard to imagine an artist could propose a more extreme interpretation.

http://yougonnadie.posterous.com/?tag=internet

Sorry, Out of Gas

1973: Sorry, Out of Gas - link




- Cydeny

Monday, November 14, 2011

‘APOLOGY’ by Kata Mejía


The LAB Gallery Presents: Apology from TheLABGallery on Vimeo.

APOLOGY
Kata Mejía

We are pleased to announce Kata Mejía’s fifth show at The LAB (for installation + performance art).

APOLOGY, a performance installation, questions the meaning, effects and repercussions of both asking for, and being asked for forgiveness.  Through physical actions that transcend the spoken, written and felt qualities of an apology, the performance installation will focus on the idea that an apology cannot repair damage. “Receiving an apology may at times even cause a feeling of emptiness within those wronged.” explains Mejía.  The artist  will use her body to paint the gallery floor. Using a paint soaked thread to create winding, meandering traces in an abstract oval shape, she will use only her feet to pull her proned body and the thread backwards through the space. Mejía’s struggle to complete the action will reference the idea that an apology is a difficult journey for those who receive it as well as a weight laden with guilt for those who offer it. Furthermore, as the artist moves throughout the space the lines on the floor will build up causing past lines to become less intense and less significant, reflecting the way memory and possibly pain diminish with time.

Photo Montage  Kata Mejía is a performance artist with a background in painting and dance who lives and works in Philadelphia. She graduated from The School of the Art Institute of Chicago with a Masters degree in Performance in 2004. She received her BFA from Universidad Nacional de Colombia in Medellin. She has been awarded several grants and scholarships, including the James Nelson Raymond Fellowship in 2004, the Trustee Scholarship from The School of The Art Institute of Chicago, a Colombian Government Scholarship for Graduate Studies abroad, and a Graduate Studies Scholarship from Universidad Nacional de Colombia in 2002. Kata Mejía received a 2009 Fellowship from the Pennsylvania Council on the Arts.

http://thelabgallery.com/2011/10/apology/

Sunday, November 13, 2011

Lee Mingwei "The Letter Writing Project"






Statement from Lee Mingwei

When my maternal grandmother passed way, I still had many things to say to her but it was too late.  For the next year and a half I wrote many letters to her, as if she were still alive, in order to share my thoughts and feelings with her.  For The Letter-Writing Project, I invited visitors to write the letters they had always meant to but never taken time for.  Each of three writing booths, constructed of wood and translucent glass, contained a desk and writing materials.  Visitors could enter one of the three booths and write a letter to a deceased or otherwise absent loved one, offering previously unexpressed gratitude, forgiveness or apology.  They could then seal and address their letters (for posting by the museum) or leave them unsealed in one of the slots on the wall of the booth, where later visitors could read them.  Many later visitors come to realize, through reading the letters of others that they too carried unexpressed feelings that they would feel relieved to write down and perhaps share.  In this way, a chain of feeling was created, reminding visitors of the larger world of emotions in which we all participate. In the end, it was the spirit of the writer that was comforted, whether the letter was ever read by the intended recipient or others.

(Commisioned by Whitney Museum of American Art, 1998)


At the age of eight Mingwei Lee began studying Ch'an Buddhism. Born in Taiwan and now living in New York, Lee's approach to making art is similar to Buddhism in that he makes no distinction between art and life. Lee's art illuminates the path to transcendence, not from the contemplation of objects but from the consideration of everyday interactions. He draws much inspiration from conversation and collaboration with other artists and he places an emphasis on process to create audience-participation pieces that really work. In creating situations where an exchange -- of objects, money, experiences or ideas -- takes place between artist and viewer, the artist becomes a conduit for the audience's self-expression. Mingwei Lee received his MFA from Yale University with a concentration in New Genre Public Art and his BA from CCAC. He has exhibited at the Whitney Museum of American Art and has recent and upcoming shows at the Isabella Stewart Gardner Museum, Boston, MA.; the Davis Museum, MA and Fort Lauderdale Museum of Art, FL.


http://www.leemingwei.com/
-Dane

My Barbarian "Post-Living Ante-Action Theater (PoLAAT)"


My Barbarian - The Only One from My Barbarian on Vimeo.




My Barbarian’s Post-Living Ante-Action Theater (PoLAAT)




My Barbarian’s Post-Living Ante-Action Theater (PoLAAT) is a series of workshops in which the collective works with local artists, musicians, and actors to develop an original work.   The Post-Living Ante-Action Theater, or PoLAAT, continues My Barbarian's self-conscious translation of what is thought of as 1960s countercultural theatre into a performance of the present. In excavating theatrical tropes associated with that era, including resistance and radicalism, we situate a contemporary quest for agency against a backdrop of previous struggles. A critical view of the late 1960s and early '70s illuminates a range of performance practices that share a hybridized approach to leftist politics, disciplinarity, artistic authorship, racial and sexual identity, and the positioning of the self among cultural fields inherited from Modernism. The successes and failures of previous countercultural movements offer models from which we may organize our own lives in the face of an increasingly powerful hegemony. The title Post-Living Ante-Action Theater references two radical avant-garde performance collectives of the '60s: the Living Theatre, which originated in New York, and Munich's Action Theater, which became known as antiteater under Rainer Werner Fassbinder's direction. The Living Theatre's Paradise Now (1968) leads the audience through a series of ritualistic improvisations, using group encounters with Kabbalistic and Hindu texts to conjure a lived experience outside of the artificiality of traditional theater. Pre-Paradise, Sorry Now(1969) is antiteater's response to that work: a series of randomly sequenced scenes of bourgeois life intersected with readings from the diary of a child murderer. The Action Theater started after members saw the Living Theatre perform in Munich, reinterpreting the collective ethos as a means of addressing their own cultural moment in West Germany. Both groups were dependent upon collectivity as a mode of production, a model for action, but while the Living Theatre sought radical liberation, antiteater performed radical critique.  

http://mybarbarian.com/


My Barbarian is a Los Angeles-based performance collective founded in 2000 by Malik Gaines, Jade Gordon and Alexandro Segade. The trio performs in site-specific plays, musical concerts, theatrical situations and produces video installations that play with the spectacular while engaging viewers critically. Their interdisciplinary projects explore and exhume cross-cultural mishaps and misadventures drawn from history, mythology, art and popular culture.

My Barbarian has performed and exhibited widely in Los Angeles: LACMA, REDCAT, Hammer Museum, MOCA, LAXART, Schindler House, LACE; in New York: Whitney Museum, New Museum, Studio Museum in Harlem, Participant, Inc., Joe's Pub; and elsewhere at Yerba Buena Center, San Francisco; Hyde Park Art Center, Chicago; Aspen Art Museum; Contemporary Arts Forum, Santa Barbara; Vox Populi, Philadelphia; Samson Projects, Boston; The Power Plant, Toronto; De Appel, Amsterdam; Peres Projects, Berlin; Torpedo, Oslo; El Matadero, Madrid and Galleria Civica, Trento, Italy; Lui Velazquez, Tijuana. My Barbarian was included in the 2005 and 2007 Performa Biennials, the 2006 and 2008 California Biennials and the 2007 Montreal Biennial. In 2008, the group performed commissioned works for the New Museum and Galleria Civica, Trento. They also presented an durational performance installation at Art Positions, Art Basel Miami Beach. In 2008, My Barbarian recieved an Art Matters grant to make a new performance and video project at the Townhouse Gallery, in Cairo, Egypt. They will have their first solo exhibition at a commercial gallery in May 2009, at Steve Turner Contemporary, Los Angeles.
the constant reality theater

The Constant Reality Theater

Iceland

In residence at Watermill Center - February 9 - 28, 2010
The February Radio Drama was an ongoing radio project produced by The Constant Reality Theater—an Icelandic company founded by the visual artists Ásdís Sif Gunnarsdóttir and Ragnar Kjartansson and musician Davíð Þór Jónsson. It was in production starting on February 10, 2010 at the Watermill Center as part of its residency program, with Ásdís as the writer, Davíð the sound producer, Ragnar the choreographer, and all three as the actors.
The February Radio Drama broadcast daily at the Watermill Center through Art International Radio (AIR)'s website. The project was realized in collaboration with the Clocktower Gallery and ARTonAIR.org in Lower Manhattan, founded by PS1 founding director and Watermill Center Selection Committee member Alanna Heiss. This video excerpt is from their February 27, 2010 broadcast from 3:15 - 4:00pm and was shot and edited by Carlos Soto.
february radio drama

 The Constant Reality Theater is a group of Icelandic artists that we were considering for a two to three week residency in the Living Studio. Ragnar Kjartansson could also perform in the performance platform. We were inspired by the above residency and the Soiree Retreat that they organized at Banff, 2011.
 soiree retreat
We were also considering asking them to send a kit for the Living Studio, if it isn't  feasible for them to physically be in residence.

Plastic Sheets
Sydney Biennale 2010

Thin Metal Cables almost transparent hanging from the ceiling. 
The plastic is almost transparent - with the back showing a ghostly projection of whatever is showing in the other side.

VERY CHEAP.

Guy Maddin Video installation





- Cassidy

Kirk Crippens "Foreclosure USA"


Kirk Crippens (San Francisco)
Foreclosure, USA: Disenchanted
2009
Archival Pigment Print
24 x 36 inches

This series was shot in Stockton, CA.


-Dane




Eija-Liisa Ahtila "Lahja (The Present)"



Eija-Liisa Ahtila
Finnish (Hämeenlinna, Finland, 1959)
Lahja (The Present)
2001
video installation | five-channel video installation with sound, 34:39 min.

Lahja "The Present" is comprised of five human dramas (Underworld, Ground Control, The Wind, The Bridge, The House), each constituting a different "channel" in a unified, if idiosyncratic, narrative. The footage is based on extensive interviews Ahtila conducted with individual women, in which the participants discussed their own experiences of psychological fragility. In Underworld, for example, a woman hides under her bed in fear. In The Wind, anger becomes a hurricane.  Each of the stories is shown on a separate monitor, and the segments run as a synchronized loop, with two of the stories playing simultaneously. Variable running times cause the monitors to play at different intervals. The process of emotional reconciliation is recurrent in the stories, all of which end with the same short text: "Give yourself a present, forgive yourself."

Source: http://www.sfmoma.org/explore/collection/artwork/110433#ixzz1dbbyIzw0

-Dane

Saturday, November 12, 2011

Barbara Kruger "Untitled (don't buy us with apologies)"





Barbara Kruger (b. 1945) 
Untitled (don't buy us with apologies) 
Photostat print in artist's frame 
55 x 49 in. (139.7 x 124.4 cm.) 
Executed in 1986. 

Larry Clark "Apology"





Larry Clark (b. 1943) 
Apology, 1991 
gelatin silver print 
signed and dated in pencil (on the verso) 
9 x 13½in. (23.5 x 34.9cm.) 


-Dane

Simon Patterson "Black-List"



BLACK-LIST

19 JAN - 24 FEB 2007


British artist Simon Patterson is to present 'Black-List', a major series of large scale paintings based on film titles and end credit sequences, for his first solo show at Haunch of Venison London.
Patterson works in a wide variety of media, including painting, sculpture, film and architectural projects, and has an ongoing interest in film and history. In 'Black-List', the matt black canvases are screen-like in format, the text appearing to glow, mimicking the appearance of cinema projection. As David Campany writes in the accompanying catalogue, "The flat blackness of the 'Black-List' canvases speaks of art, of Modernism in transition between the painterly surface and the industrial surface. The writing - so clearly cinematic - introduces what used to be called a 'double articulation': the already ambiguous black rectangles oscillate between canvas and screen."
The credits that scroll up the canvases are taken from several films including Michael Mann's 'Heat' and Martin Scorsese's 'Goodfellas'. The artist has replaced some of the featured names with those of Hollywood actors, directors, technicians and script writers who, in the 1940s and '50s, were accused of being communist sympathisers and who were subsequently notoriously blacklisted during one of the most shameful periods of American history.
Throughout his practice, Patterson takes widely recognised systems and forms that we use to classify or understand the world and subverts them by inserting apparently incongruous information. By undermining our certainty in systems that ordinarily are not questioned, Patterson challenges us to make unexpected connections between concepts, people and information. By using forms that are so familiar and trusted Patterson's representations gain their own legitimacy and pointto underlying interconnections between seemingly disparate phenomena.

-Dane

Steve McQueen "Drumroll"

Steve McQueen
British (London, England, 1969)
Drumroll
1998
video installation | three-channel video installation with sound, 22:04 min.

McQueen made Drumroll with a camera apparatus he invented in San Francisco but manufactured in New York: an open-ended barrel, like those used as road barriers at construction sites, fitted with three cameras. Two cameras pointing outward from the center of the barrel recorded imagery of the landscape beyond its rim on either end, while the third camera focused through the barrel's round side portal. The cameras recorded the barrel's progress as the artist rolled it through the streets of Manhattan for 28 minutes.  The resulting room-size triptych re-creates the sensory experience of being inside an oil drum barreling through the urban landscape. The video projections simultaneously offer us three different perspectives on this encounter. Two rectangular projections flank a circular central image that repeats, like a scroll, views of the artist, the pavement, and the sky, over and over again in revolution. The continuous rotational rhythm guides the structure of the video, propelling the narrative of an improvisational journey composed of chance elements.  As in his other work from this period, McQueen features himself, both through partial views of his body as he spins the apparatus and by his audible apologies ("Excuse me" or "Watch out!") to passersby. Though the cameras are freed from the filmmaker's hands, the recorded imagery is still contingent on his bodily contact with the device.  McQueen was awarded Britain's prestigious Turner Prize in 1999 for Drumroll.  144 in. x 432 in. (365.76 cm x 1097.28 cm)

http://www.sfmoma.org/explore/collection/artwork/25657#ixzz1dYmDy4GZ

-Dane

John Gutmann "Apology"



John Gutmann
American, born Germany (Breslau, Germany [now Wroclaw, Poland], 1905 - 1998, San Francisco, California)
Apology 1938
printed ca. 1974
photograph | gelatin silver print
8 in. x 10 in. (20.32 cm x 25.4 cm)

-Dane

Kara Walker "No mere words..."





Kara Walker
No mere words can Adequately reflect the Remorse this Negress feels at having been Cast into such a lowly state by her former Masters and so it is with a Humble heart that she brings about their physical Ruin and earthly Demise
1999
Installation view at the California College of Arts and Crafts, Oakland, California
Cut paper and adhesive on painted wall, 10 x 65 feet
Collection of the San Francisco Museum of Modern Art, San Francisco, California

-Dane

Measuring Wall Street Apologetics

Link to Wall Street Apologies/Bailout

http://www.nytimes.com/2010/04/18/weekinreview/18dash.html?dbk

-Dane

Apologies Database

Here is a great resource for public apology letters compiled by the University of Waterloo.

http://ccmlab.uwaterloo.ca/pad/corporate.html

-Dane

Friday, November 11, 2011

Miss. July

The pedastals never end.














miranda july
'pedestals for guilty ones',  eleven heavy things
moca pacific design center, 2011,
photo by olivia jaffe



 


miranda july
'two faced tablet', eleven heavy things
MOCA pacific design center, 2011
photo by olivia jaffe






















miranda july
The Thing, issue 1

(This sold for 60 bucks. If we could find it somewhere, and if we use the front window as our Wattis entrance, maybe this could be nice on the front door of Wattis? Also, by exhibiting it, perhaps The Thing would also be more interested in being involved via commission.)

Just another thought.
-CP