Sunday, 31 July 2011
Tuesday, 26 July 2011
Chunky Move 'Connected'
Another video documentation of a performance/installation, but with stand-alone artistic power. Would have loved to have seen Chunky Move's latest show 'Connected' but missed it - luckily I think this video and many others do the brilliant performance justice! I'm interested in working with film, the body and sculpture in a multi-media/video piece for DIS2601. Perhaps using elastic and extreme close ups on skin.
Sunday, 24 July 2011
Miranda July
Me and You and Everyone We Know
I still haven't managed to get my hands on the entire film but the clips available on youtube are wonderful, this intro sequence especially sets a great mood and I love the way Miranda July tells a simple story of ordinary people with such basic film techniques, and manages to make it seem so special.
Wednesday, 13 July 2011
Narelle Autio
Not Of This Earth Series
Plays around with point of view and abstraction without any need for post production or fancy techniques (other than the whole jumping-in-a-helicopter thing!): a simple celebration of leisure and human relationships.
Autio also takes some wonderful underwater photographs which you can find in her The Place In Between (below) & Watercolours series'
Kathy Temin
Black Problem
The Duck-Rabbit Problem
Tuesday, 12 July 2011
Amie Dicke
Amie Dicke cuts these beautiful collages out of magazine photographs. Not only are they lovely but they make a pretty loud statement about glossy supermodel beauty, and are super original! Lots more and heaps of other clever things on her website.
Monday, 11 July 2011
Paul D'Amato
Irina Werning
"I love old photos. I admit being a nosey photographer. As soon as I step into someone else’s house, I start sniffing for them. Most of us are fascinated by their retro look but to me, it’s imagining how people would feel and look like if they were to reenact them today... A few months ago, I decided to actually do this. So, with my camera, I started inviting people to go back to their future." - Irena Werning
Street Photography
The Stranger knows himself so well that it looks as if he's been asked to pose. He is so honest it looks staged, hyper-real. I've always been astounded by a person's capacity to out do himself - to do things so typical of his personality that an observer has to laugh in surprise at the predictability of the whole thing. This is where cliche's come from: there is nothing wrong with a cliche. Cliche's exist. They are created by real people and don't have to be repeated by artists.
Bill Henson
Secondly, I think Henson is probably one of my favourite studio photographers. As much as I obsess over photographing the stranger in his real environment, I definitely see the advantages of controlling your own lighting, models and having unlimited time to shoot over and over again til it's perfect. Although Henson's images are heavily fantastical and unreal, I think the subjects themselves look very pure and untouched. So the studio conditions are not effecting the 'realness' of the end result. I would like to play around with light and background a bit more and so a studio shoot might be on the cards next semester.
I Don't 'Get' Art
Hilarious article by Glen Coco in Viceland Today:
http://www.viceland.com/blogs/en/2011/05/23/i-dont-get-art/
Monday, May 23, 2011 at 11:47 am
There. I said it. I went to art school, wrote a dissertation called “The Elevation of Art Through Commerce: An Analysis of Charles Saatchi’s Approach to the Machinery of Art Production Using Pierre Bourdieu’s Theories of Distinction,” have attended art openings at least once a month for the last five years, even fucking purchased pieces of it, but the other night, after attending the opening of the new Tracey Emin retrospective at the Hayward Gallery, I’m finally ready to admit I do not and probably have not ever “gotten” art.
One consolation I can take is I’m about 99% sure that nobody’s ACTUALLY into art and it’s more just an exclusive club for rich people to indulge each others’ sense of “whimsy.” Just as nobody wanted to be the first one to go up to the Emperor and say “dude, I can see your asshole,” nobody wants to be the one to go up to the lady in the above photograph and say “You are at least 50 years old. What the fuck are you doing?”
Look at these fucking guys! Just to be clear: They are in the process of spending three minutes looking at a photograph of a woman they don’t know sitting on a chair. Can you imagine how quickly they’d be skipping over this photo if it was in their mom’s holiday snapshots?
This video, for the minute that I watched, was literally just what you see in this picture. Tracey riding a fucking horse. What you can’t see from this picture is the room full of people staring at this with one hand on their chins and super serious expressions. One girl was even taking notes! Sometimes I wish I possessed the requisite attention span to absorb endless amounts of totally pointless bullshit.
If that film isn’t ridiculous enough for you in its current format, how about watching it while hunched over on a teeny-tiny chair so you look like a complete twat while you’re doing it?
Are you fucking kidding me? Just in case you can’t tell from the picture, this is a photo of Tracey rubbing money against her vagina. Which people are going to pay money to look at. That’s like a Zoolander joke that the writers rejected for being “a bit transparent”.
This piece deals with themes of “making kids who have been dragged to the exhibition even more pissed off than they already were by presenting them with something that would be fucking awesome to play on, but that they’re not allowed to touch”.
“God, people that don’t get why this shelf full of car boot sale crap is meaningful are so crass and uncultured.” Imagine having to explain this exhibition to an alien or a medieval time traveler. Bet you can’t.
According to the exhibition guide, this piece is one of a number of small pieces that “can easily be missed or walked past – but you have to read them, give them time.” I think perhaps I need a little more time to read this one.
I have never wanted to do anything more than Catwoman the fuck out of this room.
After saying “fuck everything about this place”, I started to head towards the exit, where I ran into noted Brummie horsewoman Janet Street Porter. After reading Janet’s fantastic and thought-provoking piece in the Daily Mail recently about what a travesty it is that the English language has gone from the beauty of Shakespeare to a series of senseless emoticons and hashtags, I was surprised to see her looking at such unskilled art. She must have been researching a piece about the devolution of art from this:
To this:
GLEN COCO
There. I said it. I went to art school, wrote a dissertation called “The Elevation of Art Through Commerce: An Analysis of Charles Saatchi’s Approach to the Machinery of Art Production Using Pierre Bourdieu’s Theories of Distinction,” have attended art openings at least once a month for the last five years, even fucking purchased pieces of it, but the other night, after attending the opening of the new Tracey Emin retrospective at the Hayward Gallery, I’m finally ready to admit I do not and probably have not ever “gotten” art.
One consolation I can take is I’m about 99% sure that nobody’s ACTUALLY into art and it’s more just an exclusive club for rich people to indulge each others’ sense of “whimsy.” Just as nobody wanted to be the first one to go up to the Emperor and say “dude, I can see your asshole,” nobody wants to be the one to go up to the lady in the above photograph and say “You are at least 50 years old. What the fuck are you doing?”
Look at these fucking guys! Just to be clear: They are in the process of spending three minutes looking at a photograph of a woman they don’t know sitting on a chair. Can you imagine how quickly they’d be skipping over this photo if it was in their mom’s holiday snapshots?
This video, for the minute that I watched, was literally just what you see in this picture. Tracey riding a fucking horse. What you can’t see from this picture is the room full of people staring at this with one hand on their chins and super serious expressions. One girl was even taking notes! Sometimes I wish I possessed the requisite attention span to absorb endless amounts of totally pointless bullshit.
If that film isn’t ridiculous enough for you in its current format, how about watching it while hunched over on a teeny-tiny chair so you look like a complete twat while you’re doing it?
Are you fucking kidding me? Just in case you can’t tell from the picture, this is a photo of Tracey rubbing money against her vagina. Which people are going to pay money to look at. That’s like a Zoolander joke that the writers rejected for being “a bit transparent”.
This piece deals with themes of “making kids who have been dragged to the exhibition even more pissed off than they already were by presenting them with something that would be fucking awesome to play on, but that they’re not allowed to touch”.
“God, people that don’t get why this shelf full of car boot sale crap is meaningful are so crass and uncultured.” Imagine having to explain this exhibition to an alien or a medieval time traveler. Bet you can’t.
According to the exhibition guide, this piece is one of a number of small pieces that “can easily be missed or walked past – but you have to read them, give them time.” I think perhaps I need a little more time to read this one.
I have never wanted to do anything more than Catwoman the fuck out of this room.
After saying “fuck everything about this place”, I started to head towards the exit, where I ran into noted Brummie horsewoman Janet Street Porter. After reading Janet’s fantastic and thought-provoking piece in the Daily Mail recently about what a travesty it is that the English language has gone from the beauty of Shakespeare to a series of senseless emoticons and hashtags, I was surprised to see her looking at such unskilled art. She must have been researching a piece about the devolution of art from this:
To this:
GLEN COCO
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