31 August 2005
Through a national and international distribution service, the VDB makes video art, documentaries made by artists, and taped interviews with visual artists and critics available to a wide range of audiences.
The Girls Project, a new initiative from Women Make Movies funded by the National Endowment for the Arts, is a unique and compelling collection of films and videos centered on girls' lives around the world. Recognizing the critical need for alternative, more complex portrayals of young women in media, WMM has assembled this collection as a response, a challenge and a call to action. From the classroom to community centers, these works increase the visibility of girls' experiences and celebrate their individual strength and collective power.
A mix of documentary, shorts and featurelength films, The Girls Project includes 25 titles that intimately and honestly portray the struggles and triumphs of young women from a crosscultural perspective. The Girls Project introduces young women to their counterparts around the world, encourages dialogue on a number of issues - including sexuality, peer pressure, cultural identity and body image - and presents a portrait of girlhood that is engaging, celebratory, and ultimately inspiring.
Up coming exhibitions
Open your eyes: http://open.your.eyes.free.fr/
Stencil Project: http://mapage.noos.fr/stencilproject/
Stencil Festival: http://www.stencilfestival.com
Artists from 'Stencil Graffiti'
Christopher Bettig: www.455ad.com
Blek le Rat: //bleklerat.free.fr//
Dave & Shep: www.blkmrkt.com
Shepard Fairey: www.obeygiant.com
John Fekner: www.phoenix.liu.edu/~jfekner/
Logan Hicks: www.workhorsevisuals.com
Dave Kinsey: www.kinseyvisual.com
Sunil Pawar: www.iamslingshot.com
Steff Plaetz: www.scrawlcollective.co.uk
Bernie Reid: www.creativeunion.co.uk
Chris Stain: www.inthedream.com
Nick Walker: www.apishangel.co.uk
Dan Witz: www.bway.net/~danwitz/
Gerardo Yepiz: www.acamonchi.com/stencils
Elyasaf Kowner: http://www.kowner.com/
Scotland & Worldwide : www.duncancumming.co.uk
Tristan Manco: www.tijuanadesign.com
NEW Parasite: www.parasiteclothing.com
NEW Kaagman: www.kaagman.nl
Barcelona Plantillas: www.graffiti.barceloca.com/
Barcelona & Madrid: www.sprayway
NEW Schhh: www.unmicroclima.com
NEW Sam3: www.ixovoxi.com
NEW Apsits: http://www.apsits.com
NEW Delacalle: www.delacalle.org
NEW Harbord: Apeseven
Art Crimes: www.graffiti.org
Political Graphics: www.politicalgraphics.org
World Stencils: www.cleansurface.org
World Stencils: www.stencilarchive.org
Street art: www.urban-art.info
Stencil Stickers: www.bomit.com
International Work-Group On Graffiti-Research: http://people.freenet.de/graffitiforschung.de/KSurl.htm
Institute For Graffiti Research:graffiti.netbase.org
Dictionary of Aerosol Art: http://kublai.djingis.se/memb/ovre/aerosolart/aerosolart/
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WANT TO FEATURE AT THE CANNES FILM FESTIVAL?!
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Friday, Sep 16 to Sunday, Sep 18
Oxford-based "Initialize Films" is running a 3-day personalised script and project development course in Amsterdam from 16-18 September 2005. Led by script-writing tutor to Oxford University's Creative Writing MPhil programme, Ian Davies, the course coaches a maximum of four writers through seminars and email feedback as they develop an outline into a compelling film-script. The course also gives participants the chance to be represented at a major film market such as Cannes.
Boo-hooray theory: In Language Truth, and Logic, philosopher A. J. Ayer asserted that all moral or other evaluations state nothing of objective value and are simply expressions of belief, emotion, feeling, and the like
Boo Hooray is a selection of video art from artists from or residing in Australia. This work was created independently by the artists and was selected by the ABC via curation, rather than commission.
When Sony invented the portapak video recorder in the 1960s video art was born. Compared to film, video was cheap and accessible. Video was immediate – fresh and very modern.
Ironically the medium came into being because now world-renowned US artists such as Bill Viola, Nam June Paid, Bruce Nauman and Vita Aconci wanted to make work that couldn't be collected. In an interview with the New York Times (26 June 2005), Bill Viola said: “The dream we had was that art couldn't be sold, but broadcast on television".
As the technology has changed, so has the use of the medium. The recent shift from analogue to digital has meant that video art has taken another leap - into the world of computers and dvd’s. Now artists can easily edit their images on a home computer. And since the 1980s, artists and dealers have turned the medium into a commodity. Top artists in the USA, such as Bill Viola and Matthew Barney - command six figure sums for their work.
Video art is primarily available on DVD and screened in a number of ways – either by projection on walls, or using a computer or television screen. All you need is a DVD player.
Following in the footsteps of their European and USA colleagues, Australian artists have been working with video art since the late 1960s. The Art Gallery of NSW and National Gallery of Victoria, for example, have been exhibiting Australian and international video work since the early 70s. But in the last decade video art has become the medium of choice for many younger Australian and international artists.
In addressing the ephemeral natures of video art, Bill Viola says - confrontingly - that video art may actually last longer than marble sculptures. “The work of art is the information" Viola says, "that is what you own". The medium is essentially disposable.
“The technology reproduces itself the way people do – by passing along information from generation to generation rather than by preserving a single object. That is part and parcel of why I work in this medium."
While many highly acclaimed Australian artists - Susan Norrie, Tracey Moffatt, Lyndal Jones, Mike Parr, Stelarc and Philip Brophy - have been working with video art for many years, video art now hosts a 'new' generation of visual artists. The most prominent of these include Sydney artists Shaun Gladwell and TV Moore and Melbourne-based David Rosetzky. Blurring the generation boundary is multi-media artist Patricia Piccinini, Australia's representative at 2003 Venice Biennale.
It's now considered a serious art form for collectors - although still a small base of buyers - and curators worldwide, featuring in nearly every major international art show and major public museum.
- Janne Ryan 2005to see the videos click here link
Sacredgrove - the blue forest is a public art installation by conceptual artist Konstantin Dimopoulos, commissioned by the City of Melbourne and funded by Arts Victoria, Australia.
Sacredgrove is a global afforestation art action using art to highlight trees as sculptural forms, and the need to replenish the world's trees. The artist wishes to acknowledge and thank Arts Victoria for their sponsorship, and the City of Melbourne for their ongoing support for this project.--------------------------------------------
A Melbourne artist will be asked to repay a $70,000 Victorian Government grant that was to fund a controversial public arts project.
Under the project, 38 elm trees in Yarra Park at East Melbourne were to have been painted blue.
But the Melbourne City Council last night voted against the plan.
The artist's wife and business partner, Adele Dimopoulos, says she was shocked by the decision.
"What surprises us is that in order to achieve the funding, our submission came under rigorous assessment," she said.
"Not just in terms of the artistic integrity of the work, but also in terms of the safety aspects as well and so this is not just a fly by night idea."
from the abc
"Forget about global warming and the war on terrorism, cane toads is the big issue facing Territorians today and we've decided to address that issue and confront it face on," Mr Cook said.
But he says his co-star could not make it to opening night. "Unfortunately, we had to dispose of him in the recommended way, which is sticking him in the freezer," he said.
The film faces stiff competition for the People's Choice Award from a deadly coffee machine and a scooter chase through Darwin. Each five-minute Fist Full of Films entry had to contain the keyword, 'charm' and other responses tackled marijuana use and a rapper charming the audience with a rant against gamba grass.
From the ABC
Darwin Film Society
The Darwin Film Society is the Northern Territory's leading screen culture organisation. The Society has addressed the dearth of arthouse cinema in the Top End by presenting a wide range of films not usually shown in Territory cinemas or on television. Programs include members’ screenings, festivals, and special events curated both locally and interstate.
Dry Season Screenings – Deckchair Cinema
Screenings of films – selected from among the best of Australian and international alternative cinema – take place in a relaxed open air cinema during the Top End's dry season (April to November). The Program includes members’ screenings, special events and festivals.
Wet Season Screenings
During the wet season films are shown every weekend at Cinema 5 Darwin, Birch Carroll & Coyle Cinema, Darwin. Films screen Sunday and Monday evenings from January to March.Program information: 08 8981 0700.
29 August 2005
We are now calling for papers in the area of Popular Art, Architecture and Design for the 36th Annual Popular Culture Association Conference, April 12-15, 2006 in Atlanta, Georgia. Popular Art, Architecture and Design is concerned with the aesthetics of popular material culture in the everyday world of the past, present and future. Scholars from such disciplines as Architecture, Art History, Fine Art, Industrial Design, and Interior Design are invited to submit proposals.
At previous conferences topics have included World Fairs, architectural follies, urban image, Buckminster Fuller, Tadao Ando, urban memory, Disneyland, railroad stations, literary architecture, Vietnamese shop-houses, mobile homes, and the effect of television on home and clothing design. It is truly a broad arena!
Popular Art, Architecture and Design papers may be published in an e-zine after the conference.
Please e-mail a cover letter with contact information and 150-word abstract of your proposed paper to Dr. Rett Lorance at <email@example.com>
and Dr. Derham Groves at <firstname.lastname@example.org>.
NO ATTACHMENTS. The deadline for abstracts is November 15, 2005.
Registration fees apply.
For information about the Popular Culture Association, please go to:
Banned from sale in the USA
11 Apr, 2004
When Barnes and Noble were informed by our US distributor that there was a nude male on the cover of our March issue there were no ifs or buts - it was out before it even reached the bookshop. Artlink's only option - to put each copy in an opaque bag - was not acceptable to us and the stock has been retrieved and stored with the artist Kristian Burford in Los Angeles. This affair has been extensively commented on by the Australian media who while decrying the ban, have not shown the image in print for similar reasons! So far the only complaint from a member of the public in Australia was not upheld by the Classifications Board, who seem to recognise the lack of threat to public morals in this work of art. Artlink has received no complaints from subscribers or buyers, neither did we expect any.
As far as we are concerned, there is absolutely nothing to get excited about, except the fact that an Adelaide artist has a major work in an exhibition organised by the Tate in the UK, and touring to venues in Europe.
Pictures of nude men and women can be published in both Australia and the USA - as long as they are on the inside pages of magazines. Will Burford's work be placed behind a curtain at the Tate - I dont think so!
samstag scholarship 1999
16 August 2005
vuspace is both the physical and online art gallery for Computer Mediated Art at Victoria University. The physical gallery is located on Level 1, Building 9 at the St Albans campus of Victoria University in Melbourne, Australia. The gallery was constructed in order to allow both analogue and digital visual art to be displayed in a way consistent with the broader goals of the Computer Mediated Art program.
vuspace has network points which allows visual art to be displayed from anywhere around the globe. Additionally, vuspace is configured to allow for video art projection in three discrete areas, as well as the display of two dimensional images and three dimensional installations.
vuspace is essentially a research space that explores the intersection between analogue and digital visual art, as well as digital visual art. Accordingly, all exhibitions are accompanied by text/exegesis/catalogue which seeks to make explicit the relationship between theory and practice in the visual arts. All past exhibitions and essays are archived for your perusal. Please note that normal citation conventions apply for their use.
*The lies that Bill Gates told me: Exploring the Digital Divide
*15th August - 11th September 2005
Opening reception: Thursday, 17th August 2005, 4.30 to 6.30pm
*'The lies that Bill Gates told me: Exploring the Digital Divide'* is an
exhibition of new media work by first generation US born or recent Latin
American immigrant artists associated with the Chicago-based Latino
Artists' Collective POLVO. The exhibition brings together sound art,
digital photography, projections and posters that explore the poetics
and politics of community based new media practice.
*Artists:* Yesica Barrera, Miguel Cortez, Amanda Gutierrez, Monica
Herrera, Hugo Michel Hernandez, Robert Karimi, Claudia Lozano-Alberu,
Harold Mendez, Jaime Mendoza, Elivia Rodriguez-Ochoa, Manuel Sanchez and
*Curator:* Jesus Macarena-Avila.
*Opening: * 'The lies that Bill Gates told me: Exploring the Digital
Divide' will be officially opened by Lucreccia Qunitanilla. Lucreccia is
a Melbourne-based emerging artist that has previously exhibited with the
POLVO Collective in Chicago.
For more information on POLVO visit http://www.polvo.org/
14 August 2005
In the following discussion, however, I want to concentrate on found footage as a practice within art contexts, the way in which some of this work operates as a form of critical and experimental documentary practice. In looking at Matthew Buckingham's Situation leading to a story (1999) we can explore this work's engagement with found footage as historical artefact or document and a recurrent questioning of the archive itself as representation. The assumed authority of the archive and historical representation is targeted by the destabilization which occurs through much found-footage moving-image practice.3 Here the use of found footage is related to an emphasis on history and memory, allowing the artist/filmmaker/viewer the opportunity to explore debates on documentary as representative of objectivity, authenticity, truth, fiction and the factual in relation to the moving image
this is the cafe above the stedelijk museum
On Friday June 17 Peter Greenaway performed his first VJ act. And how! Utilizing a giant touchscreen control system he rocked the crowd in Amsterdam's VJ temple "11", blending his avantgarde cinematographic imagery (taken from the Tulse Luper Suitcases movie) with the heavy movie score remix by DJ Radar. With his outstanding cinematographic eye and energetic approach the "real time image conductor" Greenaway, assisted by VJs E202 and Robotfunk, has hereby set the pace in the toplevel international VJ scene.
Click the images below for an impression.
For more information please contact NoTV at email@example.com.
from not tv
Peter Greenaway is VJ on June 17 at the new NoTV CLUB EVENING in cooperation with Postivisme: CNCDNC in 11, Amsterdam.
On June 17 Peter Greenaway, director of film classics like The Pillow Book, The Cook The Thief His Wife And Her Lover, Prospero’s books and The Tulse Luper Suitcases, will demonstrate in Club 11 his first VJ performance. Herewith Greenaway sets the standard for a new club evening in Amsterdam: CNCDNC, an evening focussing on media-art and visual culture.
On music by DJ’s Richard Parker and Serge aka Radar, ‘VJ’ Greenaway will use for his set a special VJ system consisting of two large plasma screens with touchscreens, which has been developed for CNCDNC by our friends of Beamsystems. Utilizing this system, Greenaway can project his ‘story’ on the 12 screens of Club 11 in a multi-screen way and mix it 'live'.
Photography by Leendert Mulder
Click here for pressrelease (PDF 785kB)...
More info at: www.ilove11.nl
13 August 2005
THOUGHT THIEVE$ is a short film showcase about corporate appropriation of knowledge, culture, and creativity. It is a grassroots response to the Micro$oft short film competition of the same name.
Our version of THOUGHT THIEVE$ is about big companies stealing and profiting from the knowledge commons. Think about it: how would you feel if you saw your cultural traditions, collective creativity, thousands-year-old seed strains, indigenous medicinal knowledge, or even your very genetic code being passed off as the property of some multinational corporation? What would you do?
We want to know! Submit your short film on corporate piracy by Friday, 16th September, 2005 for your chance to be included in an international distribution and screening series. To be confirmed: the makers of the most creative films, as decided by popular vote, may be invited to attend a special premier screening of their film in Tunis, Geneva, or London.
Submit your short film on corporate piracy by Friday, 16th September, 2005 for your chance to be included in an international distribution and screening series. To be confirmed: the makers of the most creative films, as decided by popular vote, may be invited to attend a special premier screening of their film in Tunis, Geneva, or London.
...A few days later they received the first email referring to the use of one of Patricia's works – a cropped image from the sculpture The Leather Landscape – in a hoax. The hoax was posted on an Arabic language website www.alnilin.com and recounted the story of how a girl was transformed into an animal after throwing a copy of the Koran on to the ground.
The stolen image is actually a sculpture of one of Patricia's genetically-modified Meerkat creatures from her We Are Family exhibition that was a big hit at the Venice Biennale in 2003. At the launch at Federation Square in 2002, Foreign Minister Alexander Downer claimed the Meerkat "looked a bit like Paul Keating."
That was left field enough, but who would have thought that an unsuspecting multitude of Muslims have now been told it's what Allah does to little girls who disrespect the Koran?
A selection of the University websites was then shown to a group of individuals of both sexes who had to rate their appeal on a scale. In almost every case women preferred those sites designed by women and men showed a preference for those created by men.from the University of Glamorgan
Q. What is Burning Man?
A. Burning Man is an annual experiment in temporary community dedicated to radical self-expression and radical self-reliance. Check out What Is Burning Man on this web site for more information, read the other articles on this site and visit other web sites for a broader understanding of the Burning Man event. Before you contemplate attending, you probably want to read our Survival Guide—it's not as easy as it looks! If you wish to truly understand and comprehend Burning Man, you need to attend the event - it's unlike anything you've ever experienced!
art installations (playa)
11 August - 6 November 2005
Project gallery, Ground Level
The German artist Wolfgang Laib is being brought to Sydney as the third Balnaves sculpture project with the assistance of Goethe institute and ifa Stuttgart. Laib is known to local audiences from the Biennale of Sydney 1986 and again from the Exhibition Spirit and Place at MCA 2001. Laib is best known for his magical work with pollen, bees wax and other materials used in a ritual setting. In this exhibition we will experience a glorious pollen work presented as a glowing, fragrant rectangle on the floor of the gallery, by a 4.5 meter high wax ziggurat, a Milkstone, wax houses, rice meals, a flotilla of wax ships that sail through the gallery above our heads on wooden scaffolds.
Galerie Maeght Lelong, New York, November 1986
more & more
The Synapse database is an online resource promoting the nexus of art and science.
Synapse encourages creative and experimental collaborations between artists and scientists. It has been developed by ANAT (Australian Network for Art and Technology) as a major component of the Australia Council's New Media Arts Board Synapse Art and Science Initiative.
The database can be searched by artist, project or science organisation. It contains information on exhibitions, collaborative projects and areas of science interest and includes a showcase of artworks in the online gallery.
The Synapse database is a resource for artists, scientists, researchers, curators and industry to develop innovative and dynamic collaborations and connections.
11 August 2005
new media art
media art history project
eaf - out of the body encounters
the storr - isle of skye
i ching modernised
gogofrog - free 3D websites
download podcast-enabled feed content
I/ON: Internet Video Console
art theory & criticism
empyre - wearable technologies
something to read
empyre on blogs & vlogs
stuckists stuck with paintings
tracey moffatt reviewed
camping with the sioux
brides of frankenstein
captain kirk does lucy
stone trek - star trek does flintstones
shatner does seven
we've got deathstar
the grey album & illegal art
air pirates do disney
For the purpose of this site, the parameters set for what constitute an "art crime" involve those acts within the confines of a museum or gallery space where a work is willfully damaged. Acts of vandalism outside these confines, may be reduced to an act of hooliganism whether or not that was the intended aim especially when they lack a raison d'être. Most of the crimes documented involve a considerable risk of retribution against the perpetrators if caught (although rarely is a sever punishment dealt) and indeed in most instances no attempt of escape is sought.
from art crimes
Core areas of the festival are the annual conference on the respective festival topic, a biannual thematic exhibition, the open award competition as well as the associated club transmediale CTM, focusing on electronic music and related visual art.
The dates for transmediale.06 have been set:
Opening 2 February 2006
Festival 3-7 Feb 2006 +++
Exhibition 3 Feb - 19 Mar 2006 +++
Club Transmediale 3-11 Feb 2006
The Call for Proposals for the transmediale.06 Award Competition has been published. Submissions should be sent before 2 September.
Now out: Video compilation 05 The compilation consists of eight outstanding video works from the last festival. Information on the work and rental conditions are available here (pdf).
10 August 2005
After photography, film, video, and the little known media art history of the 1960s-80s, today media artists are active in a wide range of digital areas (including interactive, genetic, and telematic art). Even in robotics and nanotechnology, artists design and conduct experiments. This dynamic process has triggered intense discussion about images in the disciplines of art history, media studies, and neighboring cultural disciplines. The Media Art History Project offers a basis for attempting an evolutionary history of the audiovisual media, from the laterna magica to the panorama, phantasmagoria, film, and the virtual art of recent decades. It is an evolution with breaks and detours; however, all its stages are distinguished by a close relationship between art, science, and technology.
Afghanistan's famous Bamiyan Buddhas are due to be recreated by multicoloured laser images projected onto the cliffs where they once stood. The 1,600-year-old statues, which stood on the Silk Road in the Bamiyan Valley, were destroyed by the Taleban in 2001. Artist Hiro Yamagata will use solar and wind power to project a series of images onto four miles of clay cliffs. Afghan government officials, who approached the Japanese artist in 2003, are awaiting approval from Unesco. Fourteen laser systems would project 140 faceless images, standing up to 175ft (52.5m) tall, onto the cliff-face for four hours every Sunday night.
The California-based artist, who visited Bamiyan in 2003, hoped his artwork would give something back to the war-torn region by using the imported windmills to provide power for surrounding villages. He also planned to employ local workers to build the foundations for the windmills. "Many people say, 'My art will heal the people,'" said Yamagata. "Of course I help people, but it's more about not harming people." "I'm doing a fine art piece. That's my purpose - not for human rights, or for supporting religion or a political statement." from the bbc
original article at msnbc
2nd International Video Reporting Award
The 2nd International Video Reporting Award is an international competition specifically geared towards innovative documentary shorts and non-fiction digital films helmed by a single autonomous author. Video Reporting is the merge of cinematography, editing, sound and directing in one single persons hand. Film and television technicians adopt these digital documentary techniques and regard the resultant new autonomous ways of production as a challenge.
Not only will the jury and the preselection committee judge the idea and conception of the film but they will also place great emphasis on the way the filmmaker creatively dealt with the new digital authoring principle. Smaller cameras offer more freedom of movement and consequently often lead to new perspectives and prospects differing from what you see on television. Additionally, commercial video editing software has achieved a level of sophistication allowing for quick and playful experimentation with the footage. The end results are journalistic films which inspire new boundaries in the field of TV journalism.
We seek outstanding films that experiment with this new mode of production and whose journalistic-cinematic narrative catches our attention in form and content. Furthermore the films should withstand traditional quality criteria and simultaneously broaden the boundaries of mainstream television. We are looking for documentary films and authentically narrated stories captivating us with their particular intensity, an innovative creativity and a very distinctive personal authoring style.
We also place a great deal of emphasis on the filmmakers fondness for xperimentation, however, keeping in mind the presented films should not exceed 15 minutes and they should have been produced by one or more Video Reporters/ Video Journalists.
The 2nd International Video Reporting Award is being borne by the Bauhaus University Weimar as well as those television broadcast stations that are already working together with Video Journalists large scale - Hessischer Rundfunk, Mitteldeutscher Rundfunk, Deutsche Welle TV . The 2nd International Video Reporting Award is going to take place on the 5. and 6. November in Weimar. It is being organised by the professorship Medienereignisse of the media faculty of the Bauhaus University Weimar.
Videoreporters, Video journalists, documentary filmmakers, program managers, journalists and TV directors from all across Europe and the USA will discuss the potential of video reporting/video journalism in contrast with mainstream television in public screenings, panels and discussions. The awards ceremony will take place on the 6. November 2005 in the "Mon Ami" cinema and cultural centre in Weimar.
Prizes will be awarded in the following categories:
INTERNATIONAL VIDEO REPORTING AWARD
Criteria: Documentary film of 15 minutes length at most, which has been
produced by one or more Video Journalists/ Video Reporters. Open category.
Those films will be awarded that experiment with this new mode of
production and outstand by a journalistic - cinematic narrative in form
and content. The filmmaker's fondness of experimentation is very
important to us.
GERMAN VIDEO JOURNALISM / VIDEO REPORTING AWARD
Criteria: Television documentary of 15 minutes length at most, which has
been produced by one or more Video Journalists/ Videoreporters and
broadcasted by a German television broadcast station (please explicitly
state broadcast station and date of broadcasting). Those
journalistically as well as technically outstanding works will be
awarded that also meet the claims of mainstream television and show an
innovative and self-contained personal style.
VIDEO JOURNALISM/ VIDEO REPORTING TALENT AWARD
Criteria: Film of 15 minutes length at most, which has been produced by
one or more Videoreporters/ Video Journalists. The applicants must be
under the age of thirty or enrolled in a University for admission. We
will award those films that convince us of an individual personal style
in content or cinematography and that show us the applicants'
entryforms and more information on:
08 August 2005
-empyre- is pleased to introduce our guests for June - Jill Walker and Adrain Miles - who will be discussing the art and theory of hypertext, bloggs - and interactive video loggs or vogs.
Pixelvision, 1995, 12 min.
In Gibbons' darkly comic take on the Hollywood casting couch, Barbie becomes the victim of sexual harrassment and exploitation. Although "Barbie's Audition" was initially selected to appear at Sundance, festival lawyers were concerned about the doll's role and ultimately vetoed the short.
on one level this is 12 minutes of a grown man playing wth his barbie
think about it
on another, its a sophisticated gender critique
DJ Danger Mouse remixed the vocals from Jay-Z's The Black Album and the Beatles' White Album and called his creation The Grey Album. He sent about 3,000 promo copies out, and was soon served with a cease-and-desist notice from EMI, who owns the rights to the White Album master. Danger Mouse complied with EMI's order, but Stay Free! (sponsors of the Illegal Art Exhibit) and other fans and activists continued distributing the record over the Internet.
more from illegal art
For more info, check out:
EFF's overview of the Grey Album case
Grey Tuesday (protest organized by Downhill Battle)
New York Times on Grey Tuesday
Rolling Stone's review of the Grey Album
Boston Globe's review.
also on illegal art website
The films and videos below appropriate intellectual property, whether through the use of found footage, unauthorized music, or shots of copyrighted or trademarked material. (Filmmakers and videographers now have to get permission for just about every concert t-shirt, store sign, or other piece of intellectual property that happens to appear onscreen).
barbie in a blender - oh yeah!
visual art & articles
Sunday, July 31, 2005 through Sunday, October 30, 2005Brides of Frankenstein will exhibit experimental work by a new generation of female artists working with video, installation, robotics, the Internet, computer animation, and other digital and traditional media, to animate synthetic creatures with virtual life. Presenting visually and conceptually compelling pieces by approximately fifteen artists, the exhibition will survey the diverse ways contemporary women artists animate synthetic creatures to investigate a range of humanistic and aesthetic concerns.
Creating living or lifelike creatures—often, the “ideal” woman—from inanimate materials has traditionally been viewed in Western culture as an exclusively male enterprise. Brides of Frankenstein challenges the notion that men are the prime movers in the project to fabricate animated, lifelike creatures (and by extension, art). It suggests that the impulse to create is more universal.
In Brides of Frankenstein, the artists are the “brides." As metaphorical consorts of Mary Shelley’s fictional, and archetypal, Dr. Victor Frankenstein, they engender lifelike creatures. Like his, their artificial progeny embody complex responses to the human implications of the technologies they use. Their projects incorporate critiques of the unreflective hubris that motivated Dr. Frankenstein, and explore the profound social, cultural and moral issues his activities raise. But they also address the potential for transformation and inquiry, and the new forms of identity, perception, movement, presence, representation, meaning and expression, that new technologies allow.
Participating artists include: Andrea Ackerman, Peggy Ahwesh, Erzsebet Baerveldt, Kirsten Geisler, Elizabeth King, Heidi Kumao, Kristin Lucas, Amy Myers, Patricia Piccinini, Sabrina Raaf, Tamara Stone, Camille Utterback, Gail Wight, and Adrianne Wortzel.
Read the press release.
view images from this exhibition
from the san jose museum of art