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When I left high school I thought maybe I wanted to be a movie director.. so I went to London and found work as a runner for a production company, Activate Productions, which mainly did music videos. Since then (this was 1995) it has become much easier to make videos in the comfort of your own home, and I still like to play around with it once in a while. On ArtReview I met some people who were doing a project that sounded like fun…
The Exquisite Corpse Video Project (ECVP) is a unique video collaboration of 36 artists from 16 countries, inspired by the Surrealist invention, the “Exquisite Corpse”. The project is coordinated by the Brazilian video-artist Kika Nicolela.
Using the semi-blind, sequential method of the surrealists’ game, ECVP participants create video art in response to the final ten seconds of the previous member’s work. Each member is asked to incorporate these seconds into their piece, creating transitions as they please, until everyone’s vision is threaded together into an instigating final “corpse.”
ECVP Screenings and exhibitions have been taking place in various countries since June, such as Sweeden, USA, Greece, Canada, Brazil, Australia and South Africa. A book about the project will be released in the first semester of 2009.
An interview with some of the project members can be read here.
See if you can spot my one minute here:
more about "CORPSE#9 on Vimeo", posted with vodpod
The Vitruvian Woman is a multimedia sculpture created by 34 artists from around the world. Inspired by Leonardo da Vinci’s sketch; The Vitruvian Man, which idealises the classic proportions of the human body, in his case the male body, The Vitruvian Woman sets out to trace the multidimensionality of womanhood in a flow of five three-minute video sequences reflecting the nine bodily regions: the head, heart, stomach, sexual organ, right arm, left arm, left leg, right leg and feet.
Exhibitions:
2009 | December 14 – 23 | Video Installation at Video Dia Loghi 2009, Video festival, Torino, Italy
2009 | March 14 – April 19 | Debut Screening at Formverk Art Space, Eskilstuna, Sweden
My piece from the Vitruvian:
& here’s a couple from college:
more about "Flickr Video Embed: follow me", posted with vodpod
Cunningham is mainly known as a director, but he’s a man of many talents – and definitely someone who has inspired me.
When I was 19 I worked as a runner for a London production company that Cunningham had just signed up with. He was 24 and just starting out as video director.
“Chris Cunningham is an acclaimed English music video film director and video artist. He was born in Reading, Berkshire in 1970 and grew up in Lakenheath, Suffolk.
The video collection The Work of Director Chris Cunningham was released in November 2004 as part of the Directors Label set. This DVD includes selected highlights from 1995–2000.
In 1989, Cunningham worked at Spitting Image, building animatronic robot arms and sculpting caricatures for the TV series. In 1990 he worked on sculpture and animatronics for the film Alien.
After seeing Cunningham’s work on the 1994 film version Judge Dredd, Stanley Kubrick head hunted Cunningham to design and supervise animatronic tests of the central robot child character in his version of the film A.I. Cunningham worked for over a year on the film A.I., before leaving to pursue a career as a director.
Earlier work in film included model making, prosthetic make-up and concept illustrations for Hardware and Dust Devil with director Richard Stanley, as well as Nightbreed. In 1990–1992 he contributed the occasional cover painting and strip for Judge Dredd Megazine, working under the pseudonym Chris Halls, the surname of his stepfather.
Cunningham has created photography and cover artwork for various people including Bjork’s All Is Full Of Love, Aphex Twin’s Windowlicker and Come to Daddy.
In 2008, Cunningham produced a fashion shoot for Dazed & Confused using Grace Jones as a model to create “Nubian versions” of Rubber Johnny.[6] In an interview for BBC’s “The Culture Show”, it was suggested that the collaboration may expand into a video project.
In November 2008, Cunningham followed on with another photoshoot for Vice Magazine.”
Grace Jones by Chris Cunningham
Originally uploaded by ֹDazed & Confused Mag
Martin Parr‘s been incredibly productive and published a ton of books. I love his sense of humour and the way he captures the ordinary and the extreme, a sort of concentrated englishness. Looking for the point of vulnerability of society, as I think he puts it here:
“Martin Parr (born 23 May 1952 in Epsom, Surrey) is a British documentary photographer, photojournalist and collector. He is known for his photographic projects that take a critical look at modern society, specifically consumerism, foreign travel and tourism, motoring, family and relationships, and food.
Parr wanted to become a photographer from the age of 14 and cites his grandfather, an amateur photographer, as an early influence. From 1970-1973 he studied photography at the Manchester Polytechnic. In 2008 he was made an Honorary Doctor of Arts at MMU (the former Polytechnic) in recognition for his ongoing contribution to photography and to MMU’s School of Art. He married Susan Mitchell in 1980 and is father of a daughter named Corinne Manion (born 1986).
Parr began work as a professional photographer and has subsequently taught photography intermittently from the mid-1970s. He was first recognised for his black and white photography in the north of England (Bad Weather (1982) and A Fair Day (1984) ) but switched to colour photography in 1984. The resulting work, Last Resort: Photographs of New Brighton, was published in 1986. Since 1994 Parr has been a member of Magnum Photos. Recent work has included a collaboration with designer Paul Smith in Ilford, capturing people wearing Smith’s Autumn/Winter 2007 collection.”
I first became aware of Joel Sternfeld when he was shortlisted for The Citigroup Photography Prize at The Photographers Gallery in London, in 2004. They were showing some very odd travel sceneries, like this one of an exhausted renegade elephant, from June 1979.
Later I went and got Stranger Passing signed by Sternfeld.. I felt so nervous as I was waiting in line, when I finally got there, I managed to tell him, that I wanted to copy him. He wrote in my book: “To Alex, with all good wishes for your photography. Picasso said, “I never borrow – I steal.”
“Joel Sternfeld, (b. 1944, New York City), is widely regarded as one of the most influential and important fine-art color photographers in the world, noted for his large-format documentary pictures of the United States and establishing color photorgaphy as a respected artistic medium. He has many works in the permanent collections of the MOMA in New York and the Getty in Los Angeles. He has also “raised” and influenced an entire generation of color photographers including Andreas Gursky who borrows many of Sternfeld’s techniques and approaches.
Sternfeld earned a BA from Dartmouth College and teaches photography at Sarah Lawrence College in New York. He began taking color photographs in 1970 after learning the color theory of Johannes Itten and Josef Albers. Color is an important element of his photographs.
Another book, On This Site: Landscape in Memoriam (1997), is about violence in America. Sternfeld photographed sites of recent tragedies. Next to each photograph is text about the events that happened at that location. From 1991-1994 Sternfeld worked with Melinda Hunt to document New York City’s public cemetery on Hart Island [1]. A book, “Hart Island” was published in 1998 [2]. Sternfeld has also published books about social class and stereotypes in America (Stranger Passing [2001]), an abandoned elevated railway in New York (Walking the High Line [2002]), and a book titled Sweet Earth: Experimental Utopias in America ([2006]). A new book containing close-up portraits of delegates debating global warming at an United Nations conference in Montreal, titled When It Changed, is currently slated for publication in July 2007.”
This short film about photographer Stephen Shore is part of the reason I decided to start a blog, even though I’m years behind, the blog is dead and long live the micro-blog. You should watch the film if you have any interest in photography. It was made by Jay Cornelius & Donna Golden/ Docere Digital Studios.
“Stephen Shore (born 1947 in New York City) is an American photographer known for his deadpan images of banal scenes and objects in the United States, and for his pioneering use of color in art photography.
Stephen Shore was interested in photography from an early age. Self-taught, he received a photographic darkroom kit at age six. He began to use a 35mm camera three years later and made his first color photographs. At ten he received a copy of Walker Evans’s book, American Photographs, which influenced him greatly. His career began at the early age of fourteen, when he made the precocious move of presenting his photographs to Edward Steichen, then curator of photography at the Museum of Modern Art (MoMA). Recognizing Shore’s talent, Steichen bought three of his works. At age seventeen, Shore met Andy Warhol and began to frequent Warhol’s studio, the Factory, photographing Warhol and the creative people that surrounded him. In 1971, at the age of 24, Shore became the second living photographer to have a solo exhibition at the Metropolitan Museum of Art.”
I’m a huge fan of William Eggleston. His images have this sort of poetic imperfection about them, the way the objects are positioned slightly off beat, curious, beautiful, fragile. It took ages for Eggleston to get the recognition he deserved (or even commercial success).
“William Eggleston (born July 27, 1939 in Memphis, Tennessee) is an American photographer. He is widely credited with securing recognition for color photography as a legitimate artistic medium to display in art galleries.
Egglestons father was an engineer who had failed as a cotton farmer, and his mother was the daughter of a prominent local judge. As a boy, Eggleston was introverted; he enjoyed playing the piano, drawing, and working with electronics. From an early age, he was also drawn to visual media, and reportedly enjoyed buying postcards and cutting out pictures from magazines. As a child, Eggleston was also interested in audio technology.
Eggleston’s early photographic efforts were inspired by the work of Swiss-born photographer Robert Frank, and by French photographer Henri Cartier-Bresson’.
Eggleston began experimenting with color in 1965 and 1966; color transparency film became his dominant medium in the later sixties.
Eggleston’s development as a photographer seems to have taken place in relative isolation from other artists. In an interview, John Szarkowski of New York’s Museum of Modern Art (MOMA) describes his first, 1969 encounter with the young Eggleston as being “absolutely out of the blue”. After reviewing Eggleston’s work (which he recalled as a suitcase full of “drugstore” color prints) Szarkowski prevailed upon the Photography Committee of MOMA to buy one of Eggleston’s photographs.
In 1970, Eggleston’s friend William Christenberry introduced him to Walter Hopps, director of Washington, D.C.’s Corcoran Gallery. Hopps later reported being “stunned” by Eggleston’s work: “I had never seen anything like it.”
Eggleston’s mature work is characterized by its ordinary subject-matter. As Eudora Welty noted in her introduction to The Democratic Forest, an Eggleston photograph might include “old tyres, Dr Pepper machines, discarded air-conditioners, vending machines, empty and dirty Coca-Cola bottles, torn posters, power poles and power wires, street barricades, one-way signs, detour signs, No Parking signs, parking meters and palm trees crowding the same curb.”
William Eggleston in the real world. 2005 documentary by Michael Almereyda
God Damn That’s A Good Looking Blue”: Winston Eggleston on William Eggleston, from 2008. Film and interview directed by: Douglas Sloan Courtesy.
