Morrisa Maltz – Two New Movies

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I Don't Know That Would You Like to Search the Web for it?
I Don’t Know That Would You Like to Search the Web for it? (2012, 96MB, 38 secs)

Image White/Red
Image White/Red (2012, 12MB, 35 sec loop)

Another DVblog favourite today, I’m glad to say.
Morrisa Maltz, returning to the world of art from her foray
into commerce (but that so elegant and sharply done), presents
us with two new vids, mysterious and lovely both; one that
feel ecstatic and the other with, perhaps, a darker note, I think.
Anyway, partly because I think it’s enlightening and partly because, dammit,
I can, I reproduce below an edited verison of an exchange
Morrisa and I had about these.

MM:
…think I’m moving in a bit of a different direction…I’m working
on a few pieces that are much shorter and meant to loop- sorts of images
that function more as paintings and could possibly fit in sculptures
or present themselves framed on a wall… I’m not sure if those would
work for DVblog, but I’m attaching two pieces that function in that way,
one that is similar to old pieces a bit and one that is entirely meant
to loop and function as more of an “image” than a video……..
I’m really trying to get back in the groove after all the Mofone excitement
so no worries if you don’t like these pieces and don’t want to write
about them or want to write something not so great about them…
MJS:
I think they’re both great & I’d love to do a post about them.
For me change is a sign of life. Nothing depresses me more than the all
too frequent art school advice to find a “thing” and to keep doing it.
Imagine Picasso with this philosophy…
Anyway – although they are different you have very distinctive fingerprints 🙂
MM:
I think that change is extremely important for an artist , and it’s …
unfortunate that artists quite often get pegged into one way of making
things and continue to work in that vein- that seems to contradict
the whole idea of an artist for me…

Eddie Whelan/Grass Giraffes – Better Alone

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Better Alone
Better Alone (2012, 115MB, 4:30 min)

We’ve followed Eddie Whelan’s work from the very beginning and enjoyed it all the
way.
More than enjoyed, actually. Been impressed and moved by the care, thought and skill
with which he approaches everything and particularly by his forging of a very personal,
nuanced and beautiful language from the practice of data-moshing.

He has recently turned his talents to the making of music videos –
and the constraints of the form, both in terms of time and the unity demanded
by serving a soundtrack make for small jewells of lyric visual poetry.

I gather he also plays on this one, and they,Grass Giraffes, have an EP forthcoming in May.
I’ll certainly be investing in a copy.

Takeshi Murata – Melter 02

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Melter2
Melter2 (2003, 8MB, 30 sec.)

Undermining the traditional notion of televisual viewing by creating a passive,
sculptural work of technicolour beauty.
Clip from Melter 02 by Takeshi Murata.

Lisa Cianci

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okay, not okay
okay, not okay (2006, 2.53MB, 4:03 min)

year before last
year before last (2006, 1.98MB, 3:43 min)

I admire this work in its refusal to cosy.
I think it’s quite brave, in a medium where
startling visual effects are so easily realisable,
so little needing to be worked for, to make something
( & not just a work but a whole series)
that demands such careful listening
& hands out so few visual lollipops.
Lisa’s site.

Harrell Fletcher – Blot Out The Sun

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Harrell Fletcher – Blot Out The Sun (2002, 46.7MB, 5:32)

Harrell Fletcher’s 2002 unconventional remake of Ulysses.
A garage in central Portland, Oregon is the setting for this
conceptual re-working of James Joyce’s Ulysses. The garage
owner, Jay, mechanics and neighborhood denizens serve as
narrators, reading lines from the novel that focus on death,
love, social inequality and the relationship between individuals
and the universe.
A five minute clip from the 22-minute piece featured in the
2004 Whitney Biennial

Peter Scott – Death was the West

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Death was the West
Death was the West (2012, 221MB, 5:19 min)

A restrained, austere, smart and at the same time gripping piece from
Essex, UK, film-maker Peter Scott, still in his final months at art school.
I understand it to be a by product of a work in progress but it
has an integrity and presence entirely of its own.
I look forward to more.

2 from Patrick Lichty

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Explaining Conceptual Art to Bizarro
Explaining Conceptual Art to Bizarro (2012, 89MB, 1:36 min)

Danger Music #17
Danger Music #17 by Dick Higgins (2012, 19MB, 45 secs)

And to celebrate our resurrection (for which heartfelt thanks go to James Morris), two newish pieces from the redoubtable (I write so many of these things a nagging doubt enters my mind as to whether I’ve perhaps called Patrick redoubtable before, once, twice…more? But leave it – redoubtable he is) Patrick Lichty.

Both pieces take place in DC Universe Online, about which I know nothing so I won’t even begin to show myself up by attempting to expand, and both reference recent art history – one Beuys explaining pictures to a dead hare and the other Dick Higgins’s Danger Music.
Both are utterly splendid.

Alan Sondheim – What Remains

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what remains
what remains (2007, 19.7MB, 1:26 min.)

We need no excuse here to feature more of Alan Sondheim’s singular & remarkable oeuvre.
This one caused a bit of a debate on Netbehaviour in 2007 -some baulked, fearing it to be images
of rending, tearing of the body. Alan says not at all, it’s tantric/ecstatic.
The singer is Alan’s wife Azure Carter.
When he originally posted it, it came with this poem (a sonnet?):

what remains

because of the faces and powers among our second lives
and third and others in-between the others; because of
swollen faces thinned back to pages bones and shadowed flesh
that nothing stays what was simple and illusion

and then poetics rounds and fills the world
among lost pages and inscriptions freed
from every symbol and symbols freed and world;
the less are said the farther truth transcends

because of truths and songs and lights and place
where bodies turn; because of bodies churned and stretched
among beams of those lights and those songs; those truths
nothing stays back nothing; valleys fill with jostled things

and things churn symbols; the world
fills silence; skies get dark kiss; welkin

The World's Largest TV Studio

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shamberg
The World’s Largest TV Studio (1972, 17.2MB, 7:10 min.)

A historic piece of political video from
the 1972 Miami Democratic Convention, this excerpt featuring an interview
with Michael Shamberg, author of Guerilla Television & founder member of Top Value
Television. (Also founder of Raindance & subsequently big shot Hollywood Producer).

Found in the broadcasting section of the Southwest Museum of Engineering Communications
and Computation, which is actually stuffed with goodies.

Joan Healy: Deranged, but in a Good Way

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Sithair
Sithair (2007, 6.4MB, 1:49 min)

Cyberskin
Cyber Skin (2007, 38.8MB, 3:05 min)

Meat Market
Meat Market (2007, 39.6MB, 7:14 min)

I was lucky enough to see young Irish artist Joan Healy
present her work at a 2008 DATA event in Dublin.
It was strange.
First off, consciously or not, she has this innocent
butter-wouldn’t-melt-in-my-mouth demeanour and then she
shows this.. er..stuff
Documented here, in ascending order of weirdness, there’s a performance piece
where she transforms her hair into a musical instrument,
a piece where she satirises the current bio-art fashion by
getting into a box, exposing some of her back (the installation
claims this is especially grown cyber-skin)
& then attempting to draw to screen the patterns the punters trace
out on her.
Last is ..well.. (vegans avert your eyes), electronically assisted dancing meat
– you know.. chops.. steaks.. & the like..
After she gave her talk I said to her I thought her work was ‘utterly deranged’
She smiled sweetly and said she would take it as a compliment.
It was.

Paul Slocum – Time Lapse Homepage

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tlh_web
Time Lapse Homepage (2003, 18.4 MB, 55 sec.)

‘Paul Slocum‘s Time-Lapse Homepage (2003) signifies through accretion.
This high-definition video is composed of 1,000 computer screenshots
of his homepage. Complete with an upbeat score that could easily be
a corporate jingle to promote a new technology, the stills display the
building, erosion, and occasional complete overhaul of an ever-evolving
Web site. This work provides a layered historical record of something
we tend to see only in discrete units-the appearance of a homepage on
any given day-while attempting to think through Web design in the
language of earlier time-based media.’

Daniel Liss – Sixth Map

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rock
Sixth Map (2006, 17.3MB, 3.44 min.)

When filmmaker/videoblogger Daniel Liss challenged himself to make 7 videos in 7 days,
he also challenged his online audience to collaborate with him in the process.
His daily assignments came from viewers of his videoblog who determined
where, about what and how he should make each video.

Each day, they posted an assignment and each day Daniel posted a video in response.
Then came praise and criticism in the comments of each day’s videoblog post.

The process took him miles from home, he told personal stories, invented new narratives,
and played more than a few tricks on his guiding/goading audience.

For this video he was given the assignment,
“Today, you are a local. Trick us into believing that you are a local.
Tell us a story about your history.”
By Mica

Jeremy D. Slater

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Jeremy D. Slater – Manic Chinatown Bicycle (2007, 15.6MB, 2:01)


Jeremy D. Slater – Kanjiscroll (2007, 11.1MB, 0:41)

Two travel videos – albeit different sorts of it –
from Jeremy Slater, who primarily works in sound.
But I like his video work – minimal, often observational
in one way or another – so here are two samples.

Woody Allen/Nathaniel Stern

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At Interval
at interval (1977/2006, 24.3MB, 13:22 min)

Early work from the redoubtable Nathaniel Stern where he reworked,
in the most curious of ways, Woody Allen’s Annie Hall.
Interesting that although the working method here seems
almost diametrically opposed to the hands on, performative
approach found in his odys series here too is that same
sense of the fragility & vulnerability of human beings and their
bodies & psyches & of the unreliability of the language we use
to try & make what we want to happen & to relate or lie about what did .

Gabriel Shalom – Small Room Tango

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Small Room Tango
Small Room Tango (2007, 7.9MB, 3:43 min.)

Anyone who has attempted this kind of video-sampling-whilst-letting-the-
audio-determine-the-structure will now just how extremely bloody
difficult & fiddly it all is.
Hats off bigtime, then, to Gabriel Shalom, who not only makes it look
natural & easy but even squeezes poetry from it.

Paul Rodriguez – the Mean Reds

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Mean Reds
Mean Reds (2007, 11.6MB, 1:48 min)

Artist & filmmaker Paul Rodriguez made this rather good
(I particularly like the collage plus the loopy/scratchy business
towards the very end where he collages/edits the sound too)
music video in 2007.

He said:

‘I was planning on shooting my friends for a
documentary. Magically the Mean Reds were also
playing, so I decided to shoot them as well.
Months went by with me sitting on this footage.
Then I found my self printing out frames,
and doing collage on individual frames.’

Two from David Fincher

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The Motels – Shame (1985, 18.7MB, 3:59)


Rick Springfield – Celebrate Youth (1985, 25.6MB, 3:58)

Before directing features like Se7en, Zodiac, and Fight Club,
badass David Fincher made some awesomely 80s music videos.
He continues to make solid music videos for more
contemporary acts, favoring the short form to the
Hollywood machine. These lyrically poor videos
serve as proof that you too can film talking billboards,
windy alleys full of teens, use the color-pass effect,
and still go on to direct such hits as Alien 3.

Tony Arnold – Foundation

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foundation
Foundation(2011, 153MB, 14:01 min)

Here’s a striking and very beautiful piece of work from
Mississippi based artist Tony Arnold.
There is clear evidence of his discovery and love affair
with the greats of the American experimental film tradition but
he’s obviously gifted and visionary and very much his own
person. (I love his choice of music, sounds a bit like Ornette
Coleman but I think it’s not…wonderful, anyway)

Duncan Speakman – Is Life Boring?

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Duncan Speakman – Is Life Boring? (2005, 5.3MB, 1:17 min.)

From Duncan Speakman (yes, his real name) and the now abandoned 29fragiledays.
Duncan moved onto the less populated Delicate Museum, but I enjoy his older work much more (maybe because there is simply more of it?).
No contrived voice-overs (at least not at first), I’m also given enough time to meditate on the video.
Sometimes short is too short.
This is one of the best pieces from his previous incarnation.

Anri Sala – Time After Time

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Time After Time
Time After Time (2003, 45.5MB, 5:39 min)

I was initially rather mystified by the vogue in UK galleries for
the work of Albanian artist Anri Sala but after a while the penny
dropped.
The courage to embrace the poetry of detail, of stillness,
apparent lack of incident & furthermore to trust
one’s viewers to accompany one to that place…
Elegant, sad, lugubrious & also, I think, much more crafted
than first meets the eye.
Great.

Dan Canyon

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Quilts Never Sleep
Quilts Never Sleep (short version) (2007, 20.9MB, 3:07 min)

Me... U
Me… U (2007, 80MB, 12:45 min)

Two very different but attractive & telling pieces from Dan Canyon.
The first was part of a show of – you guessed it – quilts in London in 2006,
about which read more here.
The second could’ve been made for dvblog, well, at least for me, as I’m a fool
for all things turntablist, & features the splendidly monickered Mickey Morphingaz.

Glimpse of the Garden

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Marie Menken – Glimpse of the Garden (1957, 40MB, 5:04)

Marie Menken, avant-garde filmmaker of the 1940s, 50s,
and 60s – in addition to being the inspiration for
Who’s Afraid of Virginia Woolf? and a Warhol
superstar – made inspirational work from a time we seem
to overlook too much today. The garden here belongs
to one of her husband’s former male lovers, and while
Menken was often criticized for being quaint in her displays,
her style is an obviously feminine one that hides much
deeper meaning in ordinary but stunning visuals.

Cory Arcangel – Urbandale

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urbandale
Urbandale (2000, 43MB, 7:30 min.)

“Urbandale”, an ASCII/ANSI movie by Cory Arcangel.
“Filmed at Urbandale Plaza in the eastern suburbs of Buffalo N.Y.,
“urbandale” is a study of America’s suburban sprawl stripped to its barest
essentials and void of unnecessary contemporary cultural influence. This
film captures the sly, bland smile strip plazas cast at modern culture.
The film, rendered in text, focuses on the repetitive motion of food
stuffs being cooked in the lobby of a discount department store.”

“Urbandale” was a 2000 commission of New_Radio_and_Performing_Arts for it’s Turbulence project.
PS
This is a mp4 version of the original urbandalePNG video. (quality of the video has been degraded)

Recreation, Re-Creation, or, We Like OLD Stuff – Bitsy Knox

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Recreation, Re-Creation
Recreation, Re-Creation (2006, 9.6 MB, 4:27 min.)

“This video juxtaposes original 16 mm footage acquired from my Grandfather with interview footage taken of my Mother and Grandparents. All but the
past-tenses of their speaking are left intact, while the film footage has been aggressively manipulated. The project seeks to question the language of constructing one’s identity through negotiation with familial history, where the past has been constructed and reconstructed in order to corroborate certain facades of culture which are wished to be left intact.”
From Bitsy Knox

Sondheim, Foofwa – <em>Blanking</em>

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blanking
Blanking (2011, 30MB, 1:07 min)

for Carol Novack

‘I was working on this, shot with Foofwa d’Imobilite at Eyebeam,
when I heard the news that Carol Novack had died. for many of us,
this was unexpected and awful, as if the year couldn’t end
without just one more tragedy.

Foofwa and I had talked about our
work together, earlier, about issues of pain, wounding, death;
I think this piece, made at the time, is all I could do, I speak
through image and sound, these words already lost, resting in
peace
thank you Foofwa and Jamie and Jackson at Eyebeam’

Alan Sondheim

Morrisa Maltz – an interesting intersection of art & commerce

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mofonemeandzac
Saved By The Bell/Mofones (2011, 33MB, 54 secs)

The title of this post being words that seldom pass my lips but which in this case
are entirely to the point.
The splendidly creative video artist Morrisa Maltz whose work we’ve been delighted
to feature here several times made these..um..arty-i-phone holders, which are, it has
to be said, rather good and to cut a long story short their commercial potential was
spotted and now she is a C….E….O & Urban Outfitters are selling her stuff.
I hope she spends all of any money she makes on giving herself time to make more of the
very smart and fetching art videos she’s so good at.
Anyway this is a promotional vid for the moFones, lovingly carved from “Saved by the Bell”.
She even does marketing classily.

Merry

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a christmas medley from barnsley town centre
A Christmas Medley From Barnsley Town Centre (2011, 87MB, 1:29 min)

Normally we don’t post our own work here but I couldn’t resist this.
Also – it was a gift; no editing, just the take. (OK. I turned down the brightness
& jacked up the contrast a little.)
Barnsley is actually the friendliest of places, with a grumpy, wry, cheerfulness born of
generations of working-class solidarity, especially in the pits, though it’s now
ravaged by the cuts and closures of the past years.
From me & Doron, Happy Holidays and looking forward to a better world next year.
We’re taking a small holiday break & we’ll be back with something rather splendid
from Morrisa Maltz on January 2nd.

Betty Martins – When the Souls Arrive

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when the souls arrive
When the Souls Arrive (2011, 72MB, 2:40 min)

I recently attended a fairly high profile art video festival,
which shall be nameless, and I came away feeling depressed.
There was some good work (indeed, some magnificent, not much, but some) but
on the whole it was just a dispiriting display of meretricious effects, sloppy thinking
and a striving for the quick impression; all pretty souless & forgettable stuff.
(Oh, and plus a lot of cliched tosh about the – yawn – “post-human”. Wasn’t post human,
most of it, so much as post-being-any-good)
Then, on the other hand, you come across something like this:
no in-your-faceness, modest, austere and subtle, makes you do a little bit of work,
but so, so worth spending time with.
is the Brazilian video maker who made this small and perfect gem
– an account of the celebration of the Day of the Dead by expat Mexicans
living in London.
You can see the whole thing here (and I urge you to do so).
Betty Martins cheered me up considerably and I look forward to much more
work of this quality from her.

Yu-Chen Wang – Struggle for Existence

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struggle_existence
Struggle for Existence (2004, 18MB, 1:58 min.)

“By linking Darwin’s “The truth of universal struggle for existence” with a Taiwanese children’s game, The video represents two individuals’ slaughter in the virtual battle field and reflects on the ideology of boundary dividing, self-defending patriotism and bellicosity.”
by – Yu-Chen Wang.

Gilbert & George -The Singing Sculpture

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inwhatevertime
The Singing Sculpture (2010, 3MB, 41 sec.)

“Singing Sculpture documents one of Gilbert & George’s most famous “living sculpture” pieces.
Covered in multicolored bronze paint, the artists sing and interchange parts of the English
music hall standard “Underneath the Arches.” Through their stylized performance,
Gilbert & George deliberately blur the lines between life and art, reality and contrivance.
This ambiguity does not rely on a transformation from living to sculptural form. On the contrary,
they have merged the two in order to obliterate, rather than emphasize, the distinctions between life and art.” – Walker Art Center
from Video Data Bank

Ruth Catlow – overland

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overland
overland (2010, 131MB, 2:58 min)

And sadly, the last in our little season of movies by Ruth Catlow. This is another
train movie, no conceptual underpinnings to speak of this time, just a beautiful,
bleached out pastels, lo-fi ( mobile?) account of the Serbian section of a journey by train to Istanbul
last year when she was refusing ‘to fly for art’, something more people should do more often if
the results here are anything to go by.
More from Ruth, of course, as she produces it…

Scritti Politti – pop sublimity

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Word Girl
The Word Girl (1985, 7.62MB, 3:14 min)

Oh Patti
Oh Patti (1988, 20.3MB, 4:14 min)

Two of the most perfect pop songs ever made, the first from
1985’s Cupid & Psyche & the second from 1988’s Provision
(& which features a trumpet solo from Miles Davis of staggering
economy & otherworldly beauty).
Pet Sounds excepted, pop music just doesn’t come better.
The vids aren’t just an adjunct – of course they have historical
interest (that weird decade!), but there’s something fragile
& haunting & mysterious there which survives the occasional impossible
to overlook moment of naffness.
Wonderful.

Annie Pui Ling Lok

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EP
EP (2008, 45MB, 2:29 min)

Anyone who has been lucky enough to see dancer & artist Annie Pui Ling Lok
do the former will know what a fruitful combination of fierce, almost austere,
intellect & yet sensitivity to the particular, the fragile & the human, to expect.
There’s such a sure hand at work here – the confidence in collaging
disparate material & although we’ve tagged it
‘experimental’, in one sense the piece is anything but -it’s so not
a technical exercise, but a rounded, resonant work of art.

Dali on Picasso/Prévert goes shopping

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Dali on Picasso
Picasso – I salute you, I embrace you! (2006, 3MB, 29 sec)

Prevert
Prévert goes postcard shopping (2005, 10MB, 1:22 min)

Two gems from the excellent website of the French
Institut National de l’Audiovisuel , featuring two figures
associated with surrealism, the poet Jacques Prévert &
(seen here on crackingly deranged form) the artist Salvador Dali

Patrick Power – lights and darkness

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Steamlight (2006, 16.2MB, 2:51)


Watauga (2007, 203.1MB, 26:23)

Two extraordinary pieces from Patrick Power.
Its as if the Qatsi trilogy found a way to use a videoblog as a testing ground.
This is much more than a test, though.
Some of the most important work I have seen in a while.
Beautifully touching randomized archives.
Pushing the limits of contemplative observation.
Taking time to visually visit other places.
There is so much beauty in reflections and the synchronicities of our minds.

Sample these two, then go visit the rest of his collection. Patrick makes the world watchable.

Edit: Sadly, Patrick Power passed away in 2007. This post was created to honor this man’s work, and now sadly, we must honor that work as his legacy.

New Media in the Marketplace – Listen to the Podcast

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emerging_fields_in_Marketplace
New Media in the Marketplace (2011, 37 MB, 52 min)

“Over the years, we’ve found that a number of the artists we support in our Emerging Fields category have questions about how they can better market and exhibit their work. They have questions about pricing and editioning; changing formats; what it is that they are actually selling when they offer a work for sale; what their obligations to representatives and collectors are after a sale; and whether or not they should even participate in an art market that is, in their eyes, more sympathetic and better able to represent works in more conventional or established media.

On November 2, Creative Capital hosted a webinar for grantees to explore some of these issues and answer specific questions from artists working in new media. The panelists were Jason Salavon (2000 Visual Arts), Karolina Sobecka (2009 Emerging Fields), Stephen Vitiello (2006 Emerging Fields) and Marina Zurkow (2001 Visual Arts). Sean Elwood, Creative Capital’s Director of Programs & Initiatives, served as the facilitator.”

LISTEN TO THE PODCAST FROM THIS DISCUSSION

Podcast from Creative Capital.

Irina Birger Thinks Drawing is Important

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ibtdii
Irina Birger Thinks Drawing is Important (2010, 93 MB, 3:20 min. excerpt)

“What is the essence of a photograph, or more precisely, of an ID photo, portrait or self- portrait ?
You could almost ask, what is the essence of art. Or, what is the essence of life? That time always passes.
As the Greek philosopher Heraclitus put it in the 5th century BC, Panta Rhei, ‘Everything changes,
nothing remains still’. In the short video film ‘Irina Birger Thinks Drawing is Important’, Irina Birger
provides her answer to such questions.
A waterfall of self-portraits taken from photo albums belonging to her, her family and circle of
acquaintances, creates an ingenious, dizzying autobiography of the artist through the years.

We see the stereotypical development of the artist influenced by the history of art, from classic to
contemporary, and by the places where she has lived in her nomadic existence, from communist
Russia, the former Yugoslavia at the beginning of the civil war there, Israel during the Second Intifada and Germany after its reunification, to her present but certainly not final destination: the Kingdom of The Netherlands.

There’s a pinch to these moving images, where the essences of film and photography converge and clash. In a similar manner Birger’s life collides with the wrenching history of conflict zones and the sometimes difficult existence as an artist. ‘Drawing is Important,’ she posits at the end, her answer in this photo-turns-film project to the question of how she holds her own in life” (Text by Vera Stiphout)

by Irina Birger.

More from Regina Célia Pinto

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Paintings
Painting (2007, 11 MB, 43 Sec)

Neste vídeo há uma grande delicadeza, uma fragilidade,
que não deve levar a pensar que essa peça de Regina Pinto
é de alguma forma ocasional ou menos artística.
Em vez disso, esse é o trabalho de um artista maduro,
sem nada a provar, e com a enorme liberdade que isso traz.
Um estudo de todo o corpo de seu trabalho evidencia
amplamente tudo isso e mostra quão profundamente
consistente e coerente ele se apresenta.
Poder-se-ia ainda acrescentar o quanto ele nos emociona,
o quanto é estranho e muito bonito.

There’s a delicacy, a fragility, about this piece
that shouldn’t lead one to think that Regina Célia Pinto’s
work is in any way casual or artless.
Rather, this is the work of a mature artist with
nothing to prove and the enormous freedom that brings.
A study of the whole body of her work
amply bears this out.
It shows just how consistent and deeply considered
it is and, one should add, how affecting, how strange
and how very beautiful.