Friday, June 29, 2007
Sue them all!
Ha! Just as a side note, I was watching South Park this evening and noticed a phone number... 1-800-SUE-THEM!
That must be why the number is just a busy signal when called.
I'm free and clear regarding my phony law video. Well, as far as the number anyway.
That must be why the number is just a busy signal when called.
I'm free and clear regarding my phony law video. Well, as far as the number anyway.
Thursday, June 28, 2007
Perfect Smile
I took some sound from my Face Noise piece and put it with video I shot on a webcam of me holding a glossy picture of a perfect smile in the dark. SO thats what the video is. I also performed the piece live in a Yahoo romance chatroom, on webcam with a mic making the noises. I think I might re-perform it live every now and then, and post when I'm gonna do it on here.
Wednesday, June 27, 2007
Gobbledygook and other STUFF
Deadline: Received by August 15th, 2007
Issue V, Delusions of Grandeur, Winter 2007
WANTED: Artist’s Writing, Artists who Write, Text-Based Work, Manifestoes, "Classified Ads", Letters to the Editor, Comics, Jokes, Food, Issue Specific Proposals, Multi Issue Ideas, Rants, Raves, Gobbledygook and other STUFF.
Next Issue Theme: Delusions of Grandeur
Description: Writings and submissions wanted for publication. Daily Constitutional is an artist run project consisting of the publication of a magazine in themed issues, the first of which was released December 2005 at the Miami Art Fairs. Daily Constitutional is currently seeking submissions for the 5th Issue for release at scopeMiami, December 2007, as well as submissions that may span several issues using any part of the publication. In addition Daily Constitutional is accepting proposals for work made specifically for the publication.
Questions: info@dailyconstitutional.org
Submissions: submissions@dailyconstitutional.org
Issue V, Delusions of Grandeur, Winter 2007
WANTED: Artist’s Writing, Artists who Write, Text-Based Work, Manifestoes, "Classified Ads", Letters to the Editor, Comics, Jokes, Food, Issue Specific Proposals, Multi Issue Ideas, Rants, Raves, Gobbledygook and other STUFF.
Next Issue Theme: Delusions of Grandeur
Description: Writings and submissions wanted for publication. Daily Constitutional is an artist run project consisting of the publication of a magazine in themed issues, the first of which was released December 2005 at the Miami Art Fairs. Daily Constitutional is currently seeking submissions for the 5th Issue for release at scopeMiami, December 2007, as well as submissions that may span several issues using any part of the publication. In addition Daily Constitutional is accepting proposals for work made specifically for the publication.
Questions: info@dailyconstitutional.org
Submissions: submissions@dailyconstitutional.org
sound art opp
Deadline: October 15th
WANTED: Sound Art for SoundCast, a downloadable sound exhibition curaded by the folks at Daily Constitutional. Daily Constitutional reviews submissions for SoundCast on an ongoing basis. Please allow 6-8 weeks for a response as to the status of submitted audio works.
1) Audio works should be mixed for two channel listening
2) There is no length limit to the audio works but remember people will be downloading them and large files might be a deterrent to listeners
3) Submitted sound files should be compressed in MP3 format
4) Submissions should also include:
Image to accompany download
Title of piece, Date
Artist Name
Length of piece
Short description if you would like to set up the piece or if there are specific instructions
5) Submissions will be accepted via e-mail at submissions@dailyconstitutional.org until our online application process is up and running
6) Questions can be answered by submissions@dailyconstitutional.org
WANTED: Sound Art for SoundCast, a downloadable sound exhibition curaded by the folks at Daily Constitutional. Daily Constitutional reviews submissions for SoundCast on an ongoing basis. Please allow 6-8 weeks for a response as to the status of submitted audio works.
1) Audio works should be mixed for two channel listening
2) There is no length limit to the audio works but remember people will be downloading them and large files might be a deterrent to listeners
3) Submitted sound files should be compressed in MP3 format
4) Submissions should also include:
Image to accompany download
Title of piece, Date
Artist Name
Length of piece
Short description if you would like to set up the piece or if there are specific instructions
5) Submissions will be accepted via e-mail at submissions@dailyconstitutional.org until our online application process is up and running
6) Questions can be answered by submissions@dailyconstitutional.org
now!
Winter Solstice VI: Video as Art: The Fragmented Focus
The Studio, an Alternative Space for Contemporary Art
(Armonk NY)
Call to Artists: Winter Solstice VI: Video as Art: The Fragmented Focus, juror, Thom Collins, Director, The Neuberger Museum of Art
December 22, 2007 – January 27, 2008
Deadline: Postmarked September 21, 2007.
Notification (email if accepted) Sunday, October 28, 2007.
Mail SASE: The Studio: An Alternative Space for Contemporary Art, 2 Maryland Avenue, Armonk, NY 10504
$35. entry
Downloadable form: www.thestudiony-alternative.org
Website: www.thestudiony-alternative.org
The Studio, an Alternative Space for Contemporary Art
(Armonk NY)
Call to Artists: Winter Solstice VI: Video as Art: The Fragmented Focus, juror, Thom Collins, Director, The Neuberger Museum of Art
December 22, 2007 – January 27, 2008
Deadline: Postmarked September 21, 2007.
Notification (email if accepted) Sunday, October 28, 2007.
Mail SASE: The Studio: An Alternative Space for Contemporary Art, 2 Maryland Avenue, Armonk, NY 10504
$35. entry
Downloadable form: www.thestudiony-alternative.org
Website: www.thestudiony-alternative.org
do it...
DRIFT 2007 Exhibition @ Rush Art Gallery, NYC
DRIFT
(Santa Fe NM)
Drift is an annual exhibition that travels to a new location every year. DRIFT 2007 marks its 5th anniversary and is scheduled as a two-day performance art and video art show at Rush Arts Gallery in the Chelsea art district in New York City. The show will take place during NYC's Performa Biennial Performance Art events in November.
** Open Call for live performance art proposals and video art proposals.
Postmarked July 13, 2007
Please contact us at: www.driftartproject.com if you are interested in submitting a proposal.
**Curated by: Eileen Olivieri Torpey and Bradley Pecore
DRIFT characterizes the impermanence and site-specificity of the artworks as well as the adaptive qualities of the participating artists. DRIFT highlights talented under represented artists while emphasizing the critical role of experimentation and process within both conventional and unconventional exhibition spaces.
DRIFT was first conceived in the winter of 2002 as a one-day exhibition on the Jersey Shore. The Atlantic Ocean inspired temporary works by twelve artists from the greater New York City area. Fluxus artist, Geoffrey Hendricks, punctuated the day with a famous headstand on a pile of ocean boulders. In 2003 the show moved to a former home of Buckminster Fuller, River Run Farm in New Jersey. Artists responded to thirty acres of pastoral/river landscapes and the cultural history of the farm, which was part of the Underground Railroad in the early 1800's.
In 2004 DRIFT took place at Valentino Pier Park, located on the Buttermilk Channel in Red Hook Brooklyn. The exhibition featured 20 artists working in video, painting, sculpture, installation and sound. Red Hook was one of the first areas in Brooklyn to be inhabited by Algonquian tribes and later settled by the Dutch. The surrounding landscape was named for its red clay soil and hook shaped peninsula. Today, the view from Valentino Pier includes: The Statue of Liberty, The Verrazano Bridge, and Lower Manhattan.
DRIFT 2006 took place at the Bronx River Art Center in the South Central Bronx and included 28 artists working in sculpture, installation, video and performance. Part of the exhibition existed outdoors along the Bronx River for one-day while the other part of the show stayed up for six weeks in the center’s gallery. The river covers 23 miles and runs through the Bronx and Southern Westchester. The Mohicans were the first people to live and fish along the river and named it Aquehung or "River of High Bluffs." Beginning in the 1700’s, European immigrants built twelve mills on the river and by the end of the 1800’s, the river was so polluted from industrial waste that people called it an open sewage. Today, school groups and community organizations are working hard to ecologically restore the river and have made substantial progress– there are now a growing number of fish and plant species that have returned.
Contact Information | © 1994-2007 New York Foundation for the Arts
DRIFT
(Santa Fe NM)
Drift is an annual exhibition that travels to a new location every year. DRIFT 2007 marks its 5th anniversary and is scheduled as a two-day performance art and video art show at Rush Arts Gallery in the Chelsea art district in New York City. The show will take place during NYC's Performa Biennial Performance Art events in November.
** Open Call for live performance art proposals and video art proposals.
Postmarked July 13, 2007
Please contact us at: www.driftartproject.com if you are interested in submitting a proposal.
**Curated by: Eileen Olivieri Torpey and Bradley Pecore
DRIFT characterizes the impermanence and site-specificity of the artworks as well as the adaptive qualities of the participating artists. DRIFT highlights talented under represented artists while emphasizing the critical role of experimentation and process within both conventional and unconventional exhibition spaces.
DRIFT was first conceived in the winter of 2002 as a one-day exhibition on the Jersey Shore. The Atlantic Ocean inspired temporary works by twelve artists from the greater New York City area. Fluxus artist, Geoffrey Hendricks, punctuated the day with a famous headstand on a pile of ocean boulders. In 2003 the show moved to a former home of Buckminster Fuller, River Run Farm in New Jersey. Artists responded to thirty acres of pastoral/river landscapes and the cultural history of the farm, which was part of the Underground Railroad in the early 1800's.
In 2004 DRIFT took place at Valentino Pier Park, located on the Buttermilk Channel in Red Hook Brooklyn. The exhibition featured 20 artists working in video, painting, sculpture, installation and sound. Red Hook was one of the first areas in Brooklyn to be inhabited by Algonquian tribes and later settled by the Dutch. The surrounding landscape was named for its red clay soil and hook shaped peninsula. Today, the view from Valentino Pier includes: The Statue of Liberty, The Verrazano Bridge, and Lower Manhattan.
DRIFT 2006 took place at the Bronx River Art Center in the South Central Bronx and included 28 artists working in sculpture, installation, video and performance. Part of the exhibition existed outdoors along the Bronx River for one-day while the other part of the show stayed up for six weeks in the center’s gallery. The river covers 23 miles and runs through the Bronx and Southern Westchester. The Mohicans were the first people to live and fish along the river and named it Aquehung or "River of High Bluffs." Beginning in the 1700’s, European immigrants built twelve mills on the river and by the end of the 1800’s, the river was so polluted from industrial waste that people called it an open sewage. Today, school groups and community organizations are working hard to ecologically restore the river and have made substantial progress– there are now a growing number of fish and plant species that have returned.
Contact Information | © 1994-2007 New York Foundation for the Arts
yeah!
Art Parade Open Call
Deitch Projects
(New York NY)
We are now accepting submissions for the September 8, 2007 parade, which invites artists, performers and designers to create floats, placards, spectacles and street performances.
Deadline for applications: July 20, 2007
For submission parameters and more information, please visit our website: www.deitch.com
Deitch Projects
(New York NY)
We are now accepting submissions for the September 8, 2007 parade, which invites artists, performers and designers to create floats, placards, spectacles and street performances.
Deadline for applications: July 20, 2007
For submission parameters and more information, please visit our website: www.deitch.com
BAS JAN ADER
BAS JAN ADER
by Jody Zellen
Bas Jan Ader is both well known and little known as an artist. He died, or disappeared in 1975 at the age of 33, in a boat somewhere off the coast of Cape Cod. He was attempting to cross the Atlantic Ocean in a 13 foot sailboat. Why? For Art; as a performance that would challenge the boundaries between art and life. Ader's work pushed the (then) limits. He experimented with film, photography, installation, and performance.
Ader was born in Holland in 1942. He settled in Los Angeles in 1963 after sailing across the ocean from Morocco. This journey took eleven months. Once in Los Angeles Ader studied art and philosophy and became an active member of the Los Angeles art scene, exhibiting his works in numerous exhibitions and teaching at UC Irvine among other places.
Many artists working in Los Angeles during the 1970’s were interested in the relationship between art and life; between performance and photography; and the difference between the art object and documentation of an action. Ader's work fit within this conceptual framework. His performances and actions were well documented and presented as finished films or photographic works. Although conceptual in practice they were also visually sophisticated. He was aware of and interested in the work being made by contemporaneous artists such as Ed Ruscha, Gordon Matta Clark, Robert Smithson, and Chris Burden. Like many of these artists, Ader was interested in his presence and alterations to his surroundings. His body, face or shadow figured prominently in his works as subject and the object.
Amongst Ader's best known works is Untitled (Flower Work) [1974]. This piece, created as a film as well as a series of photographs, presents the artist arranging a vase of flowers. We see the artist’s body, dressed in black, from the hips to the neck. No face is necessary, for we are interested in his actions not his expression. As he arranges the flowers he carefully segregates them into the three primary colors: red, blue and yellow. Through the process of arranging and rearranging, the vase moves from being multicolored to being monochromatic and then back again to an arrangement that contains all three colors. As Thomas Crow writes in the exhibition catalogue, "The performance was his wry homage to and mockery of Mondrian, Rietveld, and the floral clichés of his native country."
Ader’s art continually made reference to his Dutch upbringing, and he often created pieces that suggested he was about to return there. Although he became firmly rooted in Los Angeles, he was always searching, and this search in mind and body became the subject of his art. In All My Clothes [1970] he photographed his clothes laid out on the roof of his house. This was reminiscent of packing a suitcase, a gesture indicating departure. Farewell to Faraway Friends [1971] is a color photograph that presents his silhouetted figure standing where the water meets the earth. Alone this image may be insignificant, but within the context of Ader's work it is both nostalgic and romantic. It evokes the aura of Dutch landscape paintings.
In many works Ader jumps or falls. He rolls off a roof in Fall I, Los Angeles [1970]. He jumps out of a tree in Broken Fall (organic) [1971], and rides a bicycle off a bridge into the water in Fall II, Amsterdam [1970]. He films or photographs these planned mishaps and presents the sequence of the adventure as his art. There is no denying that there is a certain sadness or sense of loss in all of Ader's works. Indeed, he created a film entitled I'm too sad to tell you [1971] in which he simply cries for the camera. The words "I'm too sad to tell you" address the extent of his despair.
For Ader art was a literal as well as a metaphorical journey. He was always searching. This search informed his photographs and films, but also led him to stage happenings, installations and performances. He was in the process of creating The Search for the Miraculous, a multi-part work, when he disappeared, lost at sea. Although his boat was found off the coast of Ireland a few weeks after he lost radio contact, the body was never recovered. What remains of Ader's short career are his photographs, films, and writing. Yet his works continue to influence and inspire successive generations of artists who see art not only as a journey, but as a process of discovery. As Ader once wrote, "The sea, the land, the artist has with great sadness known they too will be no more."
by Jody Zellen
Bas Jan Ader is both well known and little known as an artist. He died, or disappeared in 1975 at the age of 33, in a boat somewhere off the coast of Cape Cod. He was attempting to cross the Atlantic Ocean in a 13 foot sailboat. Why? For Art; as a performance that would challenge the boundaries between art and life. Ader's work pushed the (then) limits. He experimented with film, photography, installation, and performance.
Ader was born in Holland in 1942. He settled in Los Angeles in 1963 after sailing across the ocean from Morocco. This journey took eleven months. Once in Los Angeles Ader studied art and philosophy and became an active member of the Los Angeles art scene, exhibiting his works in numerous exhibitions and teaching at UC Irvine among other places.
Many artists working in Los Angeles during the 1970’s were interested in the relationship between art and life; between performance and photography; and the difference between the art object and documentation of an action. Ader's work fit within this conceptual framework. His performances and actions were well documented and presented as finished films or photographic works. Although conceptual in practice they were also visually sophisticated. He was aware of and interested in the work being made by contemporaneous artists such as Ed Ruscha, Gordon Matta Clark, Robert Smithson, and Chris Burden. Like many of these artists, Ader was interested in his presence and alterations to his surroundings. His body, face or shadow figured prominently in his works as subject and the object.
Amongst Ader's best known works is Untitled (Flower Work) [1974]. This piece, created as a film as well as a series of photographs, presents the artist arranging a vase of flowers. We see the artist’s body, dressed in black, from the hips to the neck. No face is necessary, for we are interested in his actions not his expression. As he arranges the flowers he carefully segregates them into the three primary colors: red, blue and yellow. Through the process of arranging and rearranging, the vase moves from being multicolored to being monochromatic and then back again to an arrangement that contains all three colors. As Thomas Crow writes in the exhibition catalogue, "The performance was his wry homage to and mockery of Mondrian, Rietveld, and the floral clichés of his native country."
Ader’s art continually made reference to his Dutch upbringing, and he often created pieces that suggested he was about to return there. Although he became firmly rooted in Los Angeles, he was always searching, and this search in mind and body became the subject of his art. In All My Clothes [1970] he photographed his clothes laid out on the roof of his house. This was reminiscent of packing a suitcase, a gesture indicating departure. Farewell to Faraway Friends [1971] is a color photograph that presents his silhouetted figure standing where the water meets the earth. Alone this image may be insignificant, but within the context of Ader's work it is both nostalgic and romantic. It evokes the aura of Dutch landscape paintings.
In many works Ader jumps or falls. He rolls off a roof in Fall I, Los Angeles [1970]. He jumps out of a tree in Broken Fall (organic) [1971], and rides a bicycle off a bridge into the water in Fall II, Amsterdam [1970]. He films or photographs these planned mishaps and presents the sequence of the adventure as his art. There is no denying that there is a certain sadness or sense of loss in all of Ader's works. Indeed, he created a film entitled I'm too sad to tell you [1971] in which he simply cries for the camera. The words "I'm too sad to tell you" address the extent of his despair.
For Ader art was a literal as well as a metaphorical journey. He was always searching. This search informed his photographs and films, but also led him to stage happenings, installations and performances. He was in the process of creating The Search for the Miraculous, a multi-part work, when he disappeared, lost at sea. Although his boat was found off the coast of Ireland a few weeks after he lost radio contact, the body was never recovered. What remains of Ader's short career are his photographs, films, and writing. Yet his works continue to influence and inspire successive generations of artists who see art not only as a journey, but as a process of discovery. As Ader once wrote, "The sea, the land, the artist has with great sadness known they too will be no more."
A brief history.....
I found this synopsis on the web.....I have deemed it appropriate for your consumption
We could say that performance art originated when the first human moved a body part for some reason other than the necessities of life. However, that person is definitely lost in prehistory. So the way I trace it is to when did it begin in something near its present form. To find this we have to find civilization in its near present form. This is the turn of the century.
The guys that get credit for it are the Futurist (an art movement) around 1908. Its leader was Marinetti. Marinetti was actually a poet. But one of the great beauties of Performance Art is that it has a place for poets, as well as visual artist and sound artist and theater artist. Its true wealth comes from the fact that it incorporates all the great disciplines of the intellectual world. Site for Futurist Manifesto of 1908 http://www.gru.com/library/ref/manifest.htm
Performance has always shifted toward the sensual and Valentine De Saint Saint-Point wrote the Futurist Manifesto of Lust. A female performer. Next came the DADA. They are the true beauties of the art world. They were a small group of people that met for only a few months at the Cabaret Voltaire in Zurich Switzerland in 1916. They were essentially nobody people that changed the way the world looked at art forever. Hitler mentioned the Dada in his Mein Kampf. (negatively of course). Although not in Zurich one of the major performers was Benjamin Franklin Wedekind or Frank Wedekind of Germany. Of the Zurich dada's there was Hugo Ball and Emmy Hennings.
In the 1920's prior to W.W.II there was the German Bauhaus. One performer to come from this was Schlemmer.
In the 1930's there was Black Mountain College, in North Carolina. Major performers were John Cage, Merce Cunningham, Buckminster Fuller. Be aware most these people are know for something else but all participated in performance art.
In the late 50's there was Kaprow's Happenings. Happenings were performance art. They had a really good run through the 60's. There was Robert Morris, performed in 1965 There was Yves Klein in late 50's and 60. creator of Klein blue. Joseph Beuys was associated with an art movement called Fluxus. It was very much performance art oriented. John Lennon's wife Yoko Ono was a performance artist associated with the Fluxus.
Performance Art took on political issues during the 70's and was kept alive during the 80's by what is called "Queer Theater". Usually in gay nightclubs dealing with Homosexual issues.
The 90's may have been its golden age. It came out of gay clubs and begin to deal with other issues of philosophical importance. We are at the end of the 90's. It probably will not die and its enlightened age may still be to come.
We could say that performance art originated when the first human moved a body part for some reason other than the necessities of life. However, that person is definitely lost in prehistory. So the way I trace it is to when did it begin in something near its present form. To find this we have to find civilization in its near present form. This is the turn of the century.
The guys that get credit for it are the Futurist (an art movement) around 1908. Its leader was Marinetti. Marinetti was actually a poet. But one of the great beauties of Performance Art is that it has a place for poets, as well as visual artist and sound artist and theater artist. Its true wealth comes from the fact that it incorporates all the great disciplines of the intellectual world. Site for Futurist Manifesto of 1908 http://www.gru.com/library/ref/manifest.htm
Performance has always shifted toward the sensual and Valentine De Saint Saint-Point wrote the Futurist Manifesto of Lust. A female performer. Next came the DADA. They are the true beauties of the art world. They were a small group of people that met for only a few months at the Cabaret Voltaire in Zurich Switzerland in 1916. They were essentially nobody people that changed the way the world looked at art forever. Hitler mentioned the Dada in his Mein Kampf. (negatively of course). Although not in Zurich one of the major performers was Benjamin Franklin Wedekind or Frank Wedekind of Germany. Of the Zurich dada's there was Hugo Ball and Emmy Hennings.
In the 1920's prior to W.W.II there was the German Bauhaus. One performer to come from this was Schlemmer.
In the 1930's there was Black Mountain College, in North Carolina. Major performers were John Cage, Merce Cunningham, Buckminster Fuller. Be aware most these people are know for something else but all participated in performance art.
In the late 50's there was Kaprow's Happenings. Happenings were performance art. They had a really good run through the 60's. There was Robert Morris, performed in 1965 There was Yves Klein in late 50's and 60. creator of Klein blue. Joseph Beuys was associated with an art movement called Fluxus. It was very much performance art oriented. John Lennon's wife Yoko Ono was a performance artist associated with the Fluxus.
Performance Art took on political issues during the 70's and was kept alive during the 80's by what is called "Queer Theater". Usually in gay nightclubs dealing with Homosexual issues.
The 90's may have been its golden age. It came out of gay clubs and begin to deal with other issues of philosophical importance. We are at the end of the 90's. It probably will not die and its enlightened age may still be to come.
Tuesday, June 26, 2007
Monday, June 25, 2007
?
Someone I don't know asked me to upload my videos to his website after seeing my Justin Timberlake piece...
A little creepy...
A little creepy...
Another 5 minutes... Spinning and Whistling
The first few times I spun around I had too much fun....so I went into the house and ate some sort of Little Debbie lemon pie twinkie type thing so I could spin around and whistle something annoying and feel like crap. Ugh....I should have learned from Melody that spinning is not a good idea.
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