28 February 2006
street art update
street art article
graffiti game banned
stencil graffiti capital
Art:21 - artist videos
video how to
video lives - ABC
alte arte - art tv
sonic acts XI
greenaway at the rijksmuseum
Katharina Grosse at deappel
rembrandt - caravaggio
DIY geodesic domes
sword of fargoal
lovebytes - sheffield uk
curating new media - liverpool
media state - adelaide
Sonic Acts Festival
kiwi digital art
rembrandtplein see original work here
One of the attractions of street art is its ephemeral nature. The city has changed while I have been away. There appears to be a municipal cleanup underway and a number of construction sites have taken down the boards. I see the city preparing blank walls for the summer to come.
Some things remain, like the walls behind the Stedelijk.
And there is always new work.
27 February 2006
Google video (beta)
Google video blog
Got videos you want the world to see?
New! Sign up for the Google Video Upload Program and upload your video for potential inclusion in our future version of Google Video.
You can view video clips uploaded, or you can put them on your own site:
"Why Macs suck" or "mac killed my inner child"
25 February 2006
Peter Greenaway and his co-operators plan to create an ambitious project for the year of Rembrandt's four hundred year centenary in 2006. The project has the overall title Nightwatching and will be a feature film, an opera, an exhibition and a re-presentation of the painting of the Nightwatch itself with an immersive presentation of the painting's characters and artifacts from the Rijksmuseum.
The feature film Nightwatching concentrates on the year 1642, and the evidence of a dangerous conspiracy contained in the painting of the Nightwatch that mirrors Amsterdam society at the centre of the Golden Age.
The opera Nightwatching concentrates on domestic, social and symbolic relationships of Rembrandt to his three consorts, Saskia, Geertje and Hendrickje in the ubiquitous matrimonial bed.
The center of all these celebrations and investigational activities is the exhibition in the Rijksmuseum.
Peter Greenaway wants to create a re-presentation of the painting of the Nightwatch called Nightwatching as an act of theatre, treating the event of the painting as a theatrical activity of players, costumes, props, light, sound and dialogue set in a highly technical, innovating and creative installation; a combination of art and technology designed for an attentive audience that will be intrigued by a world of light and moving images and the single frozen moment.
Nightwatching the exhibition is the opening event of the Holland Festival's 59th edition on June 2, 2006.
A poetic combination between theater, moving image and innovating technology. For the exhibition we will use the Philips rooms 11 and 12, the Jan Steen room and the Night Watch room.
In room 11 we plan to stage the Nightwatching installation bringing forward the personal story of all the 31 figures in the painting the Nightwatch. We will create a combination between innovating technology and moving image to display the world of the Nightwatch and the stories behind the people in the painting.
For the installation we will use many screens and various interfaces for the audience, the many screens will be a three dimensional object hanging free in the exhibition space.
Peter Greenaway is a pioneer in combining film, art and technology. In his famous exhibitions he creates new worlds of interactive and moving images to tell stories behind the objects in the exhibition.
One of the other great creative aspects of Greenaway's exhibitions is the use of light - always designed by artist and director of photography Reinier van Brummelen. In the room where the Nightwatch is exposed, we will create a second theatrical installation. The Nightwatch and its surroundings will be put in a theatrical light installation (with many different lighting sequences) and the public will feel and become part of the romantic period of the GOLDEN age.
We will create spaces and emotions by making use of a custom designed lighting system and we will work with state-of-the-art lighting technology, to find possibilities for using light in new ways in the museum environment.
Greenaway's passion for painting and new technology in art, combined with his established international acclaim as an original filmmaker, will make this project a creative and innovating new experience for a large and diverse audience.
Nightwatching the exhibition, June 2 - August 6, 2006, Rijksmuseum Amsterdam
Full details, including a synopsis of the film here
23 February 2006
When someone submits a video, it appears on the Incoming! page and if people like it, they can 'bomb' the video, which adds it to their favorites list. If enough people bomb a video, it will appear on the front page of the site.
A big reason we created Video Bomb was to work with DTV, our internet TV software. You can watch Video Bomb videos in DTV and soon you'll be able to bomb videos from within DTV. Together, Video Bomb and DTV are the best way to share internet videos with friends.
21 February 2006
“Art:21–Art in the Twenty-First Century” is the only series on television to focus exclusively on contemporary visual art and artists in the United States, and it uses the medium of television to provide an experience of the visual arts that goes far beyond a gallery visit. Fascinating and intimate footage allows the viewer to observe the artists at work, watch their process as they transform inspiration into art, and hear their thoughts as they grapple with the physical and visual challenges of achieving their artistic visions.
11 February - 26 March 2006
Since the 1990s, Katharina Grosse (b. Freiburg, 1961) has built up a repertoire consisting of large painted canvasses and bright acrylic colours sprayed onto both interior and exterior walls, ceilings and floors. It is a way of working related to Colour Field Painting and Abstract Expressionism, between Impressionism and graffiti, performance, process and installation art. She investigates the limits of painting by using different concepts belonging to contemporary and traditional artistic expression, in which making and presenting paintings continues to occupy an important place.
20 February 2006
The archive of "gate pages," which function as portals to net artists' works. Each month, an artist is invited to present their work in the form of a gate page with links to the artist's site and most important projects.
The "commissions" area, which presents original net art projects commissioned by the Whitney Museum.
The "exhibitions" space, which provides access to and information about current and past net art and digital arts exhibitions at the Whitney.
The "resources" archive, which links to galleries, networks and museums on the Web; past net art exhibitions at venues world-wide; Web publications relating to net art and digital arts; as well as new media festivals. This archive is constantly evolving as new organizations and resources are added.
The "collection" area, which archives the works of net art and digital art in the Whitney Museum's holdings.
Lovebytes is an arts organisation based in Sheffield UK that explores the creative and cultural potential of digital technology by creating opportunities for the production and consumption of digital art and media. We organise an annual international festival of digital art and run an ongoing programme of exhibitions, events and publications throughout the year.
Lovebytes was established in 1994 to explore the creative and cultural potential of emerging technology and works across the whole gamut of digital media including music and visual art, interactive media, installation, conceptual art, performance and digital film.lovebytes 2006
20 -25 march
30th march - 1st april 2006
Former owners of a C64 certainly will remember Sword of Fargoal. It was created by Jeff McCord and released for the C64 by Epyx in 1983. It is a simple rogue-like game (preceding the first official release of Rogue though). And according to http://www.cdaccess.com/html/pc/150best.htm,
it is one of the best 150 games ever. A summary of its description could read like this:
You are on a quest to retrieve the Sword of Fargoal, which lies between levels 15 and 20 of a dungeon. The dungeon levels are populated by an ever-regrowing number of different monsters, the deeper the dungeon level, the stronger the monsters. By retrieving experience points and collecting treasures, your own strength will increase as well, while finding your way down through randomly generated dungeons. With the help of different items and all sorts of spells, and by escaping various kinds of traps, you finally can find the Sword of Fargoal in the middle of a labyrinth - which
doesn't mean you're done, no way, now the game only really begins.
A timer is started, and you have to get back up to the dungeon entrance again before time runs out. This isn't as easy as it sounds, because dungeon levels are newly created and look different every time you climb up or down, and are now full of monsters waiting to steal the sword from you - in which case you have to climb down and find it again - but the timer isn't reset.
now its been re-released for both mac and pc
download it here
I got the sword, I got all the way back up to level one. I clicked on the upstairs icon to exit the dungeon and as I waited for the final screen to load, it timed out....
if you dont hear from me for a while, you know why.
17 February 2006
The full and expanding calendar of over 100 media arts events taking place across London in over 35 locations is now online.
At http://www.nodel.org you can view detailed information aboutprojects, artists, participants, venues and organisations; you can find events, submit details of more media arts projects taking place in London in March 06, and view the developing map of media arts in the capital.
16 February 2006
By Stephen Hutcheon and Louisa Hearn
February 16, 2006 - 1:20PM
Multimillionaire US fashion designer Marc Ecko has slammed the Federal Government's decision to ban his new video game. The Classification Review Board yesterday refused to classify the game, Marc Ecko's Getting Up: Contents Under Pressure, meaning it cannot be sold, demonstrated, hired or imported.
The decision was endorsed last night by the Federal Attorney-General, Philip Ruddock, who had asked the board to review of the game's MA15+ classification after local councils and state governments voiced concerns that the game would promote graffiti. Australia is the only country in the world to ban the game.
"I am extremely disappointed in the Australian Government classification Review Board's move to ban my video game ... based solely on a perceived notion that it somehow will promote the crime of graffiti," Mr Ecko wrote in an email in response to a request for comment by smh.com.au.
The action game is published by The Collective and was due to be released in Australia later this week. It has already gone gold in the United States. Set in a city of the future, the game features a world where freedom of expression is suppressed by a tyrannical city government. Game players battle the authorities to overthrow corrupt officials using only street fighting skills and graffiti.
Computer games are refused classification on the basis that they either promote, instruct or incite a matter of crime or violence. With board members split 2-2 over the decision, it took a casting vote from the convenor, Ms Maureen Shelley, to break the deadlock. A full report on the board's decision and the minority view will be published within 30 days.Ms Shelley told smh.com.au that the dissenting view could be summarised as: "This game was fantasy and didn't promote crime."
She said while this was not the first time the board had refused to classify a computer game, the decision that effectively bans Marc Ecko's Getting Up: Contents Under Pressure marks "the first time we have refused classification for a computer game because it promotes crime".
The game is being billed as the "first truly authentic video game based on urban culture" and the culmination of a seven-year project by Mr Ecko, who - in his younger days - was a graffiti artist. On the game publisher's website, Mr Ecko has described the game as "genre-defining. Revolutionary. We will put the flag in the ground of popular culture with Getting Up". Mr Ecko is the founder of the hip fashion label *ecko untld. His company has expanded into cosmetics and publishes a magazine focusing on hip-hop and urban culture.
Although this is the first time Mr Ecko's game has been banned, it has attracted its fair share of crictism. Last year, New York City Mayor Michael Bloomberg tried to have a graffiti-themed launch party for the game banned claiming that it would encourage vandalism. Mr Ecko planned to have 20 former graffiti artists decorating model subway cars. However Mr Ecko won the day when Manhattan federal court Judge Jed Rakoff said the mayor's ban was a "flagrant violation" of First Amendment rights. "By the same token, presumably, a street performance of Shakespeare's] Hamlet would be tantamount to encouraging revenge murder... As for a street performance of Oedipus Rex, don't even think about it... ," the judge said.
In his email, Mr Ecko rejected the notion that the game would cause a graffiti epidemic. " To the contrary, I would argue that a graffiti tag in the virtual world doesn't make one pop up in the real world." he said. "... to blame gaming for everything that is inherently wrong in our homes, in our schools and on our streets is much easier to do than to actually figure out ways to fix the systemic problems that exist within our culture." Mr Ecko said video gaming was a misunderstood cultural movement that was not about "teaching illegal activities". "If a kid wants to learn how to write on the wall, he or she will figure it out. They have done it since prehistoric times, in fact.
"It's about sharing a fictional tale set in a futuristic city where freedom of expression has been suppressed by a corrupt government and how one young man is able to change his world by picking up a pen instead of a gun.
Mr Ecko said the game was about ""looking beyond the filth and realising that sometimes there is more to the message". "You just have to dig a little deeper and be willing to open your mind to two artistic mediums - gaming and graffiti - you may not fully understand or appreciate."
In his press release yesterday Mr Ruddock said: "I am satisfied the decision to refuse classification is consistent with the proper function of the Review Board to reflect community standards and apply the Act, Code and Guidelines."
possibly from the smh
as posted on acam
14 February 2006
as translated by babelfish
Creativtv.net is a Web TV devoted to the contemporary art, photography, the data base... Creativtv proposes to you to meet in its reports the artists, criticisms of art and the police chiefs of exposure who make the artistic topicality..., on the whole more than 300 vidéos are consultable on line in our files.
CultureTV! delivers you the best mix of art, short artvideos, events, museum, galleries, artists and artnews. You can even communicate with us in real-time via Skype ( free Voice Over IP - get with it already!), chat, and more.
Plus, you the viewer can soon submit shorts, cell phone films, dedications, and requests to interact with the network and influence what gets aired. Tell us what you want to see from our rapidly growing library of artvideos, short films and more. CultureTV! will provide and develop dozens of programs to keep our viewers entertained and there'll be more to come in the future,
A photographic exhibition documenting street art in it's true urban context. The photos highlight the works of some of the most influential and active Melbourne street artists including: Meek, Phibs, Sixten, Meggs, Psalm, Dlux, Rone, Sync and more.
The event will also be the official launch of
"Stencil Graffti Capital: Melbourne",
the first book to explore the city's thought provoking, visually rich and constantly evolving stencil graffti scene.
6 - 9pm Wednesday 15th of February
Citylights and Until Never Gallery
2nd Floor. 3 - 5 Hosier Lane (Enter from Rutledge Lane) Melbourne 3000
Exhibition runs from 16th - 25th of February
Open Wednesday to Saturday 12 – 6pm
6 - 9pm Friday 3rd of March
3rd Floor, 16-28 Foster St Surry Hills 2010
Exhibition runs from 4th - 5th of March
Open Saturday & Sunday 12 - 5pm
AUTHORITIES are furious over a photographic exhibition celebrating illegal street graffiti, which opens in a Melbourne art gallery this week.
Police have been urged to infiltrate the exhibition's opening night to try to identify illegal graffiti and catch offenders admiring associates' work. The exhibition is also the launch of the book Stencil Graffiti Capital: Melbourne. Glossy invitations to media depict photos of people in alleys at night spraying graffiti on walls. Sympathisers often defend stencilling as the artistic end of the graffiti spectrum, but critics argue if it is done illegally it is unacceptable.
Police Minister Tim Holding led the attack.
"Graffiti's not art. It's vandalism and it's something we all deplore," Mr Holding said.
Residents Against Graffiti Everywhere called on police to go to the exhibition to identify illegal graffiti and offenders."It is simply another avenue for illegal activity to be packaged as acceptable," RAGE founder Steve Beardon said. Opposition Leader Robert Doyle said all unauthorised graffiti was vandalism and illegal. "While this subculture is congratulating itself on the proliferation of illegal stencilling, I know the enjoyment is not shared by owners of property they vandalise," Mr Doyle said.
The book's co-author and exhibition convener, Jake Smallman, defended both. He said while most of the graffiti featured in the book and exhibition was done illegally, he was doing nothing illegal
by photographing it. "I'm just documenting what's already out there," he said. Mr Smallman said he believed it was important to document stencil graffiti on city walls because it was so transient.
His works will appear at the Until Never Gallery and the Citylights light boxes in Hosier Lane from February 16 to 25. His book has already sold about 1000 copies since its release late last year -- including about 15 to music industry stalwart Michael Gudinski.
"While I don't condone graffiti I think Stencil Graffiti Capital has captured for posterity a very unique art form," Mr Gudinski said.
In this first exhibition to juxtapose works by these masters of chiaroscuro, over 30 monumental paintings from various international museums provide a visual spectacle with powerful images of love, emotion and passion. Rembrandt-Caravaggio shows exclusively in Amsterdam.
Michelangelo Merisi da Caravaggio (1571-1610) died four years after Rembrandt van Rijn (1606-1669) was born. Although they never met, there are many parallels between the two masters and their work. Both were revolutionary innovators in the art of Southern and Northern Europe respectively. And while they stemmed from different traditions of painting, they each developed an individual, dramatic visual idiom.
Caravaggio’s work, which has not been shown in the Netherlands since 1952, is represented in this exhibition by major items from international museums. Masterpieces such as The Supper at Emmaus from London, Amor Vincit Omnia from Berlin and the Sacrifice of Isaac from Florence are in Amsterdam for the show. Famous paintings by Rembrandt from various museums abroad are also featured in the exhibition, including the Blinding of Samson from Frankfurt and Belshazzar’s Feast from London. Most of the paintings are displayed in pairs of works by the two artists.
Also on display in the exhibition is work by the Caravaggists Honthorst and Van Baburen, Dutch artists who were influenced by Caravaggio while in Italy. It was through these painters that Rembrandt learned of Caravaggio and began practising in the Caravaggist style in his early years, as some of the paintings in the exhibition show. Rembrandt’s own themes, style and method are also explored.
For more information and online ticket sales: rembrandt-caravaggio.nlParallel to Rembrandt-Caravaggio, the print room in the exhibition wing presents a show which brings together Van Gogh and Rembrandt. Around 25 paintings, drawings and letters by the two artists reveal how Van Gogh discovered Rembrandt’s oeuvre and how his artistic appreciation of the old master developed. Special focus is placed on The raising of Lazarus which Van Gogh painted in 1890 after Rembrandt’s eponymous etching, providing a colour interpretation of the 17th-century original. The presentation is compiled by guest curator Prof. Peter Hecht of Utrecht University.
Rembrandt-Caravaggio is one of the first shows in a series of exhibitions, activities and events organised in the Netherlands to mark the 400th anniversary of Rembrandt’s birth. For more information about Rembrandt Year, see www.rembrandt400.com.
11 February 2006
3 - 19 march
If you would like to know how to send audio and video over the internet, learn the basics of Linux, learn PureData, or even build your own mini FM transmitter then feel free to have a browse and take what you want.
Entitled Sonic Acts XI — The Anthology of Computer Art, the festival will include a three-day international conference, three evenings and nights of live performances, an extensive film programme and an exhibition. A DVD and a book on the festival theme will also be published to coincide with it.
08 February 2006
03 February 2006
media arts festival. This year’s festival will feature new and
experimental video and web art as well as works using mobile technologies
presented in a month-long program of screenings, a forum and an exhibition
at the Sydney Opera House Studio and Exhibition Hall in April 2006.
Under the theme “Condition of Emergence”, dLux media arts is now calling
for works in the following categories of D>Art.06:
- D>Art.06 Screen: Experimental video works with a maximum duration of 15
- D>Art.06 Web: Online works suitable for exhibition in a gallery
- D>Art.06 Locative / Mobile: Artworks specifically made with or for
mobile technologies. The nature of the artwork may range from video to
games to locative and social networking applications.
All works submitted must have been completed in 2005 or 2006.
The call for entries closes on February 18th 2006. Any entries not
received by this date will not be accepted.
For more information, detailed entry conditions and to submit your work to
D>Art.06, please visit http://www.dlux.org.au/dart06
"We picked up a significant rise in the number of large bronze statues that have been stolen in London and the (surrounding) Home Counties within the last six to 12 months," said Detective Sergeant Vernon Rapley, from the Metropolitan Police's Art and Antiquities Unit. "We're particularly concerned because there seems to be little appreciation of the objects that have been stolen and there's quite a lot of damage being done to them when they're being stolen," he told AFP.
The thieves' 'modus operandi' is simple: find a valuable open air bronze sculpture in, say, a park, and then steal it, with a lorry if necessary. One of the three bronze figures that formed Lynn Chadwick's 'The Watchers' was stolen earlier this month from the grounds of Roehampton University in south-west London. Standing at more than two metres tall, it would have required up to eight men to lift it. Its estimated value was 600,000 pounds sterling ($A1.4 million). Detective Sergeant Rapley said that by stealing just one of the figures, it was "pretty much unsaleable". In mid-December, 'A Reclining Figure' by Henry Moore was stolen from the foundation he set up in Hertfordshire, north of London. The 3,000,000 pound sterling ($A7 million) statue has yet to be recovered and the Henry Moore Foundation is currently offering a "substantial" reward for its return. Hopes are not high, however.
Detective Sergeant Rapley and his team increasingly fear that the figures have been stolen purely for their scrap metal value and may already have been melted down. "That's obviously a huge concern to us, especially when you consider that we've lost a Henry Moore, a Lynn Chadwick and several other important works of art," the policeman explained. Art dealers cannot quite believe it, either.
"The value of the items as works of art far outweighs the value of the metal," said Alexandra Smith, from www.swift-find.com, an Internet search engine designed to trace stolen works of art. "I don't think that they have been stolen just for the scrap value - there is far too much planning that has gone into it," stated Dick Ellis, a former Scotland Yard Arts and Antiquities Unit officer who now works for the Art Management Group, an art security company. "With the Henry Moore, they stole a truck specifically to lift it before transferring it to some other vehicle, probably a container, so it could be shipped out of the area. "If you're going to steal something, cut it up, melt it down - I don't believe that they would go to that length and trouble to undertake other crimes to commit the main crime."
Mr Ellis suggested that because of the geography of the thefts, they were unlikely to be the work of a single group. But one thing is clear, he said: "It's a valuable commodity which is easy to steal, they're objects which are of a type that's sought after in today's art market, they're valuable, isolated and therefore vulnerable." So if the art is not being melted down, where is it going? "It's possible it's going abroad," Mr Ellis said. "I'm just hazarding a guess, possibly across into eastern Europe, (The stolen art works market) is very much a global market." For the moment at least, Scotland Yard is ruling nothing in and nothing out. "We just want to get out and explain the problem and try to encourage people to talk a bit more," said Detective Sergeant Rapley. "Usually, when we get a significant increase of crime in any particular area, we also get a significant increase in intelligence that comes in. "But on this occasion, we're receiving no information at all. It's as if these objects have disappeared completely, which leads us to conclude that there is a danger that they've been melted down or possibly exported."
from the abc