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3/31/11 at 7:00pm > Ben Russell: The Artist’s Talk As A Disappearing Act (With Live Video Feed) at threewalls, Chicago, IL, USA

29 March, 2011 by

Ben Russell
The Artist’s Talk As A Disappearing Act (With Live Video Feed)
3/31/11 at 7:00pm
Threewalls, Chicago, IL, USA
119 North Peoria #2C, Chicago, IL 60607 (map)
Gallery Hours: Tuesday-Saturday, 11am-5pm

For those of you in/around Chicago this week, Ben Russell will be giving an artist’s talk/performance about his current solo show at threewalls on Thursday at 7:00pm.  It is a delicious exhibit of BR’s mystic acuity. Superluminal; punk-rock; enchanting; ton-o-fun.

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The Artist’s Talk As A Disappearing Act (With Live Video Feed)
In which the artist performs a televised lecture regarding the seven works currently on display in his solo exhibition, Uh-Oh It’s Magic. Possible topics to be discussed include: working under the influence, phenomenological states, animism, optics and subjectivity, levitation, cultural relativism, and rainbows. The notion of “losing oneself in one’s work” will be demonstrated materially during the course of the lecture and subsequent Q&A.

***
In case you haven’t yet seen the show, it’ll be up until the 23rd of April — here is what some kind souls have said about it so far (in both image and word):

  1. http://www.flickr.com/photos/threewallsgallery/sets/72157626176089321/show/
  2. http://www.artslant.com/chi/articles/picklist#p22299
  3. http://blog.art21.org/2011/03/18/ben-russell-at-threewalls/

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The Disappointment: Or, The Force of Credulity (2007), by Brian Springer, at Conversations at the Edge, Chicago, this Thursday, March 17, 2011

16 March, 2011 by

Image: The Disappointment: Or, The Force of Credulity, Brian Springer, 2007

“Brian Springer presents his latest work The Disappointment: Or, The Force of Credulity (2007) at Conversations at the Edge this Thursday, March 17, 2011.

Followed by a Q&A with the artist and Brian Holmes.

‘An unexpected masterpiece.’ — Grady Hendrix, New York Sun

Best known for his scathing news media exposé Spin (1995), Brian Springer’s latest film is a labyrinthine, semi-autobiographical documentary about the search for four disparate treasures buried on his family’s farm in Missouri. These include gold coins left behind by a 16th Century Spanish explorer; silver from the Civil War; the legendary lost diary of anarchist Kate Austin, who lived on the farm in the 1890s; and a mysterious limestone sculpture of dubious origin. Springer interweaves the stories surrounding these treasures with those of his family to spin a tale of spirit possession, Napalm, Indian massacres, early American opera, fanatical obsessions, 200 tons of dirt, and the way mothers try to protect their families from wounds that never heal.

At its core, The Disappointment meditates on the ways history is passed along, altered, and sometimes lost through archeological findings.  The screening will be followed by a discussion with the artist and writer Brian Holmes.”

2007, Brian Springer, USA, Beta SP video, 70 min plus discussion.

BRIAN SPRINGER (b. 1959, Kansas) studied video at the State University of New York at Buffalo and received his MFA in Art from the University of California Santa Barbara. While in Buffalo, Springer worked with a group of artists to create Squeaky Wheel, a nationally respected grassroots media arts center. Springer’s work has been shown at the Center for Art and Media (ZKM) in Germany, the Hammer Museum (Los Angeles), the Whitney Museum (NYC), the Institute for Contemporary Art (London), and the Centre Pompidou (Paris), and has been broadcast nationally in the UK. He currently lives in Ohio, where he works in the public schools through the Ohio Arts Council’s arts residency program.

Co-presented by Video Data Bank, in collaboration with Conversations at the Edge, a program of the Film, Video, New Media and Animation Department at SAIC.

SCREENING DETAILS
Thursday, March 17, 2011, 6:00 PM
Gene Siskel Film Center
164 N. State Street
Chicago, IL
312.846.2600
www.conversationsattheedge.org

More:
The Disappointment on VDB.org

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Ben Russell: Uh-Oh It’s Magic: March 11-April 23, at Threewalls, Chicago

10 March, 2011 by

BEN RUSSELL: UH-OH IT'S MAGIC

March 11th- April 23rd, 2011
three-walls.org
119 North Peoria #2C, Chicago, IL 60607 (map)
Opening reception: Friday, March 11th, 6-9pm
Artist talk: Thursday, March 31st, 7pm
Gallery Hours: Tuesday-Saturday, 11am-5pm

CHICAGO: For his SOLO exhibition Uh-Oh It’s Magic, artist Ben Russell gathers together seven instances of sound and image that speak to the varying possibilities of belief and mysticism within a global construct. Taking its title from the choral refrain of the Cars’ song Magic (1984), Uh-Oh It’s Magic points towards the persistence of a culturally Western hope/belief in the existence of Magic: a belief-in-belief that employs logic to dismantle difference-as-superstition as quickly as it drops its jaw in the presence of the technologically explicable. From the myth of Icarus to the divination rites of Malian animists, from Mexican cotton candy makers to Vietnamese martial artists, and from Icelandic drowning pools to Abbie Hoffmans’ 1967 levitation of the Pentagon, this exhibition is realized across a multitude of forms – 16mm film loops, auto-repeat records, found photographs, multi-projector installations, prisms, mirrors, heat lamps, desiccants and a transformed non-space that bathes viewers in a delirious chroma-key paint job, effectively making the gallery everywhere and anywhere at once.

In the her essay for the exhibition, Erika Balsom says: “In the art of Ben Russell, the cinema’s paradoxical status as both disinterested document and active producer of magic emerges as a fundamental preoccupation. Moving into the gallery space after an established career in filmmaking has allowed Russell to make use of an expanded array of strategies and media to explore issues he has long addressed: Do we—and should we—believe in what we see? When does the moving image seek to deceive us and when does it promise revelation? Russell imagines a global cartography of sites and sights that challenge rationality. Placing the experience of travel at the center of his practice, the artist charts culturally varying approaches to the otherworldly with the ethnographic tradition never far out of sight.”

Ben Russell Portrait #1

Ben Russell is a media artist and curator whose films, installations, and performances have been presented in spaces ranging from 14th Century Belgian monasteries to 17th Century East India Trading Co. buildings, police station basements to outdoor punk squats, Japanese cinematheques to Parisian storefronts, and Chicago bathtubs to Viennese boats. He has had solo screenings and exhibtions at the Museum of Contemporary Art Chicago, the Rotterdam Film Festival, the Wexner Center for the Arts, and the Museum of Modern Art. A 2008 Guggenheim Fellowship and 2010 FIPRESCI award recipient, Ben began the Magic Lantern screening series in Providence, Rhode Island, is co-director of the artist-run space BEN RUSSELL in Chicago, and he currently teaches in the School of Art and Design at the University of Illinois at Chicago.

Founded in 2003, threewalls’ is dedicated to increasing Chicago’s cultural capital by cultivating contemporary art practice and discourse. With a focus on the practices of local artists and administrators or visiting artists interested in regional history and culture, we aim to create a locus of exchange between local, national and international contemporary art communities that builds Chicago’s reputation as an important site for creative research and production.

threewalls operates three programs: six exhibitions per year that support local artists through SOLO and group exhibitions; a series of public programs that explore current ideas in art and culture (The Public Culture Lecture Series, threewallsSALONS and a biannual symposium on grass-roots and community organized cultural administration) and a residency that invites artists from around the world to engage in regionally site-specific research or projects. threewalls is also joint administrator of The Propeller Fund with Gallery 400 at The University of Illinois at Chicago.

threewalls is partially supported by a grant from the Illinois Arts Council, a state agency; by a CityArts Program I grant from the City of Chicago Department of Cultural Affairs; The Chicago Community Trust; The Cliff Dwellers Foundation for the Arts; ArtsWork Fund for Organizational Development; The Gaylord and Dorothy Donnelley Foundation; The Alphawood Foundation; The MacArthur Fund for Arts & Culture at the Richard H. Driehaus Foundation; 3Arts Chicago; and major support is provided by The Andy Warhol Foundation for the Visual Arts. threewalls is sponsored by Pernod Absinthe.

More

Ben Russell on Vimeo

 

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Stan Brakhage Black Leader, Anticipation of the Night (1959), via Phil Solomon, & Courtesy of Mark Toscano, Academy Film Archive

1 March, 2011 by
brakhage-black-leader-anticipation-of-the-night

Black Leader from Anticipation of the Night (1959), Stan Brakhage, courtesy of Mark Toscano, Academy Film Archive

Found via Phil Solomon’s Musings; part of the Brakhage Restoration Project. The Academy of Motion Picture Arts and Sciences Film Archive is restoring the complete oeuvre of Stan Brakhage. How delicious. The beauty of Brakhage. Here is one of many treats Phil Solomon shares on his blog.

From Phil Solomon’s Musings (original post here):

The animated scratched titles on the original black leader of Brakhage’s seminal work, Anticipation of the Night, backlit over a light box at the Academy Archive.

Courtesy of Mark Toscano, who is overseeing the restoration, bless him.

Black will be restored to the Night. Darkness on the Edge of Town.

Rust Never Sleeps…

Here are some additional film stills from Stan Brakhage’s Anticipation of the Night (1959), via Fred Camper.


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Happy St. Valentines Day by Jeanne Liotta

14 February, 2011 by

A perfect little film loop to post for St. Valentine’s Day: Jeanne Liotta’s Happy St. Valentines Day has “Valentine’s Day” in the title. How lovely.

Synopsis: A couple of bipacked loops in the 16mm projector and everybody’s happy!

Visit Jeanne Liotta’s website here.

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Animator Martha Colburn in Person, CATE, Chicago, 10 February 2010

10 February, 2011 by

The Wild Triumphs of Martha Colburn
Martha Colburn in person
‎1hr 15min‎‎
a CATE Program‎

Gene Siskel Film Center
164 N. State Street, Chicago, IL
(312) 846-2800
6:00pm

Martha Colburn, a New-York-and-Holland-based filmmaker, will present a program of her films (today) on Thursday, February 10th, 2011, at the Gene Siskel Film Center, as part of SAIC’s Conversations at the Edge series. Martha Colburn will be in person to present and discuss her work.

Visit Martha’s website by clicking here.

The above film, Martha Colburn imagines Diana Wagman: An Electric Literature Single Sentence Animation (2009), is a collaboration between Martha Colburn (image), author Diana Wagman (text), and Nick DeWitt (music). The animation was produced for Single Sentence Animation series curated by Electric Literature.

Martha Colburn

More on The Wild Triumphs of Martha Colburn program (from CATE):

Martha Colburn’s wickedly witty animations are assemblages of stop-motion puppetry, multi-layered glass painting, and all forms of pop cultural detritus. Drawing inspiration from the histories of the American West and more recent narratives of methamphetamine use and environmental catastrophe, Colburn’s outrageous pastiches offer incendiary commentary on our contemporary condition. Writes Jonas Mekas: “Martha Colburn’s films are naked testimonials of our times, and of her generation.” This evening, she will present a range of works from across her oeuvre—including early favorites like Evil of Dracula (1997) and Cosmetic Emergency (2005)—and the Chicago premiere of two brand-new projects, in addition to an in-depth discussion about her process. 1994-2010, Martha Colburn, Netherlands/USA, multiple formats, ca. 75 mins plus discussion.

ABOUT THE FILMMAKER:

MARTHA COLBURN (b. 1972, Pennsylvania) is an artist based in New York. A prolific self-taught filmmaker, she has completed nearly 50 animated shorts since 1994. In addition to her work in film, Colburn recorded and toured as part of the Baltimore-based rock group The Dramatics and in side projects like The Pleasant Livers. She has made music videos and art films for bands such as Deerhoof, Serj Tankian, They Might Be Giants, and the documentary The Devil and Daniel Johnson. Her films, collages, and installations have been exhibited widely, most recently at the Cannes Film Festival in France, the Sundance Film Festival in Park City, Utah, the Centre Pompidou in Paris, the Museum of the Moving Image in Queens, and the Kunstsammlung Jena in Germany.

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Men Seeking Women (2007) by Penny Lane

7 February, 2011 by

Men Seeking Women, Penny Lane, 2007, 4 min, video
Watch Men Seeking Women on Vimeo.

Men seeking women … we know what that means … it means men seeking women.

This four-minute short film by Penny Lane, a New York state-based filmmaker, is an amalgamation of animated found still images and the transcriptions of Craiglist personals, which are verbalized by the machine-driven voicing of a text-to-speech CPU microprocessor unit.

Now of course there is Mr. Macintosh, the voice that appears with a simple ⌘ key swipe, with customizable dictions — which range from Princess to Pipe Organ — but the voicing entities in Penny Lane’s piece are somewhat more advanced — they have a face, a body, and they move, and they have freakish eyes. Moreover, a vast array of dialects, programmed by a master dialectician. I think the first dialect is Scottish, but I’m not quite sure.

Craig’s List is always a hoot. It’s a dichotomy: some personals are utterly sincere, some personals are utterly uncouth, but the multitude of personals is creeps seeking debauchery.

I enjoy the personal in this video that mentions payment for people to watch movies at his house — but, ‘‘don’t touch me, just watch the movie.’’

Made in America. I love America.


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A/S/L?

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BEN RUSSELL : BLESS – Opening Reception – 5 Feb, 2011

3 February, 2011 by

February 5, 2011 – March 12, 2011
Opening reception: Saturday 6-9 pm, February 5th, 2011

Private viewings by appointment*

*The performance by Sandy Allen will begin at 8:00pm during the opening reception.

ABOUT THE SHOW:
Gesundheit!  It seems that you’ve still got the snifflesFriend, and what with the winter of our discontent snowing down upon us again and again and again, it’s clear that you need something more than a box of Kleenex to lift your spirits.  And so, without further ado, we’re taking the “BLESS” out of “God BLESS you” and putting it back into BEN RUSSELL.  In preparation for such an historic event, we had an Orthodox priest sprinkle holy water in the screening room, got some German Pagans to mark the snow in the sculpture garden with goat’s blood, asked our Jewish ex-girlfriend to recite prayers while lighting the Shabbat candles in the exhibition space, and took part in a gang initiation rite in the kitchen where we were punched really hard in the forehead.

After all, art is BLESSing (which, coincidentally, is also the term for a group of unicorns) – art is brightness, art is hope, art is buoyancy of spirit in the Newest Year.  In the year of our (land)lord 2011, we’ve assembled an array of minor altars upon which to worship and be worshiped – we’ve erected a selfless monument by which to orient ourselves in the darkness, a beacon of positive communication (CASTLEMAN) with which we can broadcast our message to the world.  BEN RUSSELLBLESS is self-realization through rigor and ritual, it is a document of time-in-space, re-spaced (CHAN); it is sage incense and Cherokee flatbread and self-taught customs derived from a disappearing culture (ALLEN); it is an inquiry into Painting and Form and the very real possibilities of a center that has expanded outward from itself (LEDGERWOOD). Last but certainly not least, BEN RUSSELLBLESS is a video-shout-in-triplicate, a protest against social and spiritual conservatism, a conversation that we simply cannot allow to become familiar (WOJNAROWICZ).

We are BLESS, we are future, we are now — take our hands and join us, let the light of Art shine upon us all.

***********

ABOUT THE ARTISTS:

SANDY KAYE ALLEN lives in Chicago.  She is deeply worried about the dying heritage and fading language of her ancestors, and she actively engages in the important artifacts and stories of Native American life, drawing from ritual and custom in an effort to educate others through her work. Intrigued by the sounds of the Cherokee language and the instruments that accompany it, she weaves these elements together with samples of her own recordings and her own voice.  Moving between fact and fabrication, she teaches herself folk dances and writes love letters to her pretend Native American boyfriend in Tsalagi, the Cherokee language.  She learns Native American recipes to cook meals for her friends; she sings the self-taught Cherokee morning song of her ancestors and often contemplates the magic of being able to fluently speak the Cherokee language. She dreams of one day finding and connecting with the Cherokee elders and using their knowledge to inform the world around her.

DAYTON CASTLEMAN is an artist who was born in New Orleans, worked extensively in Philadelphia, and now resides in Chicago, where he received his MFA from the School of the Art Institute. He has installed work at numerous venues in Philadelphia, and has exhibited his work in Chicago at Co-Prosperity Sphere, DePaul University Museum, and Jennifer Norback Gallery, among others, as well as curating exhibitions at Alogon, Spoke, and The Zhou B. Art Center. He has shown work at the International Sculpture Center in New Jersey, and at galleries from Los Angeles, to New York, to Rotterdam.

DEREK CHAN‘s paintings, works-on-paper, and durational performances record the minutia of daily life while combining historical narratives to reflect on such themes as spirituality. He develops his work through a highly personal, meditative practice that most recently that explores the spiritual and poetic nature of the Four Corners region, where Arizona, New Mexico, Utah, and Colorado meet. Chan’s recent exhibitions include Thirty and Eightwith Golden Age, a 12 x 12 at the Museum of Contemporary Art Chicago and collaborations with Theaster Gates at the Whitney Museum of American Art during the Whitney Biennial.

DAVID WOJNAROWICZ was a painter, photographer, writer, filmmaker, performance artist, and activist who was prominent in the New York City art world of the 1980s.  Wojnarowicz died of AIDS-related complications on July 22, 1992 at the age of 37.  In November 2010, G. Wayne Clough, Secretary of the Smithsonian, removed Wojnarowicz’s short silent film A Fire in My Belly from the exhibit “Hide/Seek: Difference and Desire in American Portraiture” at the National Portrait Gallery after complaints from the Catholic League and Rep. John Boehner.

ABOUT THE SPACE:
BEN RUSSELL is an art space in the Pilsen neighborhood of Chicago.  Co-curated by artists Brandon Alvendia and Ben Russell and situated around the front two rooms in the apartment of its namesake, BEN RUSSELL began presenting a series of month-long 5-person shows on Memorial Day Weekend in the year 2009.  Participating artists are invited to produce and exhibit work that is in accordance with the title/theme of each show, the name of which will be derived entirely from the 10 letters in the words “ben russell.”  Future shows may include BEN RUSSELL : LENS, BEN RUSSELL : REBELS, and BEN RUSSELL : US. In keeping with the structural conceits of the French Oulipo language group and the spatial and material limits of what is effectively a rented apartment, BEN RUSSELL maintains a strict set of restrictions for all exhibiting artists by which:

- One artist shall produce a wall-mounted work scaled at a minimum of three quarters of the thirteen by ten foot wall.
- One artist shall produce a wall-mounted work at a maximum of one half of the opposing wall space between the two adjacent doors.
- One artist shall produce a time-based work to be presented via a CRT flat screen monitor (and associated components) with Dolby 5.1 audio in the adjacent screening room.
- One artist shall produce work to be installed in the all-weather sculpture garden.
- One artist shall produce work to be performed for the duration of 15-30 minutes during the opening.

BEN RUSSELL features a rotating roster of Chicago-based and non-Chicago-based artists and will be open for viewings one night a month and by appointment, as needed.

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7 Question (Oulipo) Interview with Nicolas Sassoon, Vancouver-based Computer Artist

31 January, 2011 by

Home/Land Studies #15 by Nicolas Sassoon

Nicolas Sassoon is a Canada-and-France-based computer artist whose work dissects landscape, architecture, and wordplay by digital dint of the raffish animated .gif. His work benefits from stylized pseudo-retro aesthetics, characterized by lurid colors, moving patterns, and bitmap. His work is quite delicious when it wanders through notional objects, sanctities, and sanguine wordplay.

The following interview is seven questions and answers translated using Oulipo constraints (learn more here). Technique: Oulipo S+7, AKA N+7: Each noun in question and answer is replaced with noun that is seven entries after it in a dictionary. These constraints yield amusing results and sometimes strange things occur. The original untranslated questions and answers are located page bottom.

Nicolas made these animated .gifs especially for this little interview.

(more…)

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John Whitney, Computational Periodics, 1975

26 January, 2011 by

John Whitney, Arabesque (1975)

John Whitney is the big daddy of computer animation, computer visual fx, and computer animation math expressions. Many overlook the fact that Whitney was creating complex visual fx during the late 1950s and early ‘60s — and unlike most animators, Whitney actually invented many of the processes and machines he used to create his works.

Below are a few block quotes from “Computational Periodics,” an essay Whitney wrote in November 1975. This article adduces the fact that Whitney was a computer art visionary — the Nostradamus of computer animation — a man with a penchant for coddling the inevitable (during Whitney’s time, forthcoming) digital epoch of cinema and media. In the article, Whitney draws some interesting parallels between music, art, and the computer, with incredible foresight.

The computer is the coequal of the entire repertoire of musical instrumentation and heir to that domain of musical sound. At the same time, the computer is the ultimate kinetic image generative instrument. The kinetic image is in truth the creation of computer graphics since the cine or television camera is but a recording device and the hand-drawn image of motion is but a cartoon of motion.

Tatlin, Rodchenko, Gabo, Moholy-Nagy, Fontana, Duchamp, Kandinsky, Mondrian, Pollock and twice that many more artists of this century testify to the drive toward dynamic organization of energy and force in art. And toward ephemeralization of the art object in painting and sculpture. The past decade has seen that direction lead many artists to cinema, exotic technology and experiments with cybernetics. Yet it has passed generally unnoticed that this preoccupation of the last one hundred years has been toward a musicalization of visual art. For the urge to produce abstract architectonic structures that possess fluid transformability in visual space is no less than a grand aspiration toward music’s double in the visible world.

Read the entire article via the Atari Archives.org.

Watch Arabesque here.

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Still Raining Still Dreaming ('08-2009) by Phil Solomon

20 January, 2011 by

(2008-2009, digital video, sound, in progress)

Believe it or not, esoteric film sages, i.e., Phil Solomon, are open to the possibilities of working with video — and even video games. Here are two stills from Solomon’s Still Raining Still Dreaming, a film that takes images from the notorious wanton car-jacking shoot-em-up Grand Theft Auto video game; part of a series that also includes Rehearsals for Retirement (2007), Untitled (For David Gatten) (w/ Mark Lapore, 2005), and Last Days in a Lonely Place (2007).

More: http://philsolomon.com

More from Phil soon.

Check it out.

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