"While Arsenal does not possess the same historical breadth as Zvenyhora, it does follow Zvenyhora in having the same seven part episodic division. In the film’s opening titles, Dovzhenko defines the film as a “Historical-Epic”. Because the film seems to cause so much narrative confusion , a brief description and summary of the events and figures portrayed will be given from the outset before venturing into more turbulent waters."
David Bate in his brilliantly concise book Photography- The Key Concepts allows the idea of ‘Postmodernism’ little more than 15 lines of text. Seemingly fed up with the cyclical debate around the troubled movement, Bate sums it up as the application of codes and conventions of commercial photography to current art photography. This combined with an influx of female artists opposing male domination within the arts at the end of the 1970’s seems to be enough for Bate to draw a line under this unending debate. However Bate is just one person, and there are vastly differing views on this dense and convoluted subject.
Jean Baudrillard thinking and talking about the violence of the image,aggression, oppression, transgression,regression, effects and causes of violence, violence of the virtual, 3d, virtual reality, transparency, psychological and imaginary.
An open Lecture given by Jean Baudrillard after his seminar for the students at the European Graduate School, EGS Media and Communication Program Studies Department, Saas-Fee, Switzerland, Europe, in 2004.
Ranging in dates from the late 1970s through the early 1990s, the films are varied in genre and budget. While none of the films are lavish productions by any stretch, they do cover the wide domain of amateur (Desperate Teenage Lovedolls), indie feature (Border Radio, Times Square, Suburbia, No Skin Off My Ass) and verité documentary (The Decline Of Western Civilization, The Blank Generation and D.O.A.: A Right of Passage). Most made under desperate, comic or chaotic circumstances, they all share the punk spirit in both their creation and their content.
Co-Founder and Director of Light Industry, a venue for film and electronic arts in Brooklyn, Thomas Beard recently curated "The Unfinished Film," on view at Barbara Gladstone Gallery [through July 29]. The exhibition showcases films that appear as fragments in their final form either deliberately or unintentionally. Since 2008, Beard and partner Ed Halters have curated weekly events, screenings and lectures across New York. A.i.A. caught up with Beard as he "couchsurfs" the summer away, preparing for the opening of a new space this fall. —Naomi Mishkin
"Artist Cyprien Gaillard presented his electronic opera Desniansky Raion at Tate Modern this July. The triptych of films features some startling images, including battling gangs and a son et lumière building demolition. In this video Gaillard talks about the ideas behind his work and how composer and musician Koudlam provided the films extraordinary soundtrack."
"It is difficult, as one looks at the photos, not to judge the remains in terms of iconic value. Already prized in this respect is ‘The Last Column’, a 37-foot piece of an interior support from the south tower, so named because it was the final object to be removed from the site. Covered with pictures of victims, badges and tags from fire and police departments, and notes and mementos from friends and relatives, the column now lies flat, supported on steel beams of its own, like an industrial version of the True Cross. (Last out of the site, it was the first thing in the 9/11 museum, which had to be constructed around the column owing to its size.) In this same semi-sacral register, there are also beams with little crosses and stars of David cut out by metalworkers for families and friends of the dead."
This project began from the theory that humans are made of cosmic matter as a result of a stars death. I created imagery that showcased this cosmic birth through the use of dust and reflective confetti to create galaxies. The models organic bodily expressions as they are frozen in time between the particles suggest their celestial creation. In addition, space and time is heightened by the use of three-dimensional animated gifs. Their movement serves as a visual metaphor to the spatial link we share with stars as well as their separateness through time.
In February 2003, I had the opportunity to transcribe the audio recordings that Pip Chodorov had taped for his film, A Visit to Stan Brakhage, a brief, 15-minute portrait film of the great American avant-garde filmmaker, commissioned for French television. The interview was to be Brakhage’s last.
In May 1979, during a break from filming "Lightning Over Water" in collaboration with Wim Wenders, Nicholas Ray granted an interview to Kathryn Bigelow and Sarah Fatima Parsons. It was to be Nick's last interview before dying of heart failure about a month later. At that time, Kathryn Bigelow was a graduate film student at Columbia University, where she earned a master's degree, but had not yet directed her first feature film. Her close friend, Sarah Fatima Parsons, was a journalist from West Germany. Of course, Kathryn Bigelow is the Academy Award-winning director of the Oscar winner for Best Picture, "The Hurt Locker." Maybe more people will want to read this interview with her name attached. I wish someone would assemble a book of interviews with Nicholas Ray taken from various languages over the years.
Carmen Rosa and Julia la Paceña perform at a charity show in a school courtyard. Freestyle wrestling, or lucha libre, one of the most popular entertainments in Bolivia, was once the domain of men only. Now cholitas, women wearing the traditional skirts and bowler hats of the indigenous Aymara and Quechua people, are making a mark. The choreographed tussles, part-comic, part-epic struggles between good and evil figures, attract enthusiastic audiences. Some of the women even take on their male counterparts.
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