Saturday, June 30, 2012

A Must See. So Powerful


Works by Abramović and collaborators

  • Artist Body: Performances 1969–1998, artist, Abramović; authors Abramović, Toni Stooss, Thomas McEvilley, Bojana Pejic, Hans Ulrich Obrist, Chrissie Iles, Jan Avgikos, Thomas Wulffen, Velimir Abramović; English ed. (Charta, 1998) ISBN 978-88-8158-175-7.
  • The Bridge / El Puente, artist Abramović, authors Abramović, Pablo J. Rico, Thomas Wulffen (Charta, 1998) ISBN 978-84-482-1857-7.
  • Performing Body, artist Abramović, authors Abramović, Dobrila Denegri (Charta, 1998) ISBN 978-88-8158-160-3.
  • Balkan Baroque, (Pierre Coulibeuf, 1999)
  • Public Body: Installations and Objects 1965–2001, artist Abramović, authors Celant, Germano, Abramović (Charta, 2001) ISBN 978-88-8158-295-2.
  • Marina Abramović, fifteen artists, Fondazione Ratti; co-authors Abramović, Anna Daneri, Giacinto Di Pietrantonio, Lóránd Hegyi, Societas Raffaello Sanzio, Angela Vettese (Charta, 2002) ISBN 978-88-8158-365-2.
  • Student Body, artist Abramović, vari; authors Abramović, Miguel Fernandez-Cid, studenti; (Charta, 2002) ISBN 978-88-8158-449-9.
  • The House with the Ocean View, artist Abramović; authors Abramović, Sean Kelly, Thomas McEvilley, Cindy Carr, Chrissie Iles, RosaLee Goldberg, Peggy Phelan (Charta, 2004) ISBN 978-88-8158-436-9; the 2002 piece of the same name, in which Abramović lived on three open platforms in a gallery with only water for 12 days, was reenacted in Sex and the City in the HBO series' sixth season.[20]
  • Marina Abramović: The Biography of Biographies, artist Abramović; co-authors Abramović, Michael Laub, Monique Veaute, Fabrizio Grifasi (Charta, 2004) ISBN 978-88-8158-495-6.
  • Balkan Epic, (Skira, 2006).
  • Balkan Erotic Epic, as producer and director, Destricted (Offhollywood Digital, 2006)
  • Seven Easy Pieces, artist, Abramović; authors Nancy Spector, Erika Fischer-Lichte, Sandra Umathum, Abramović; (Charta, 2007). ISBN 978-88-8158-626-4.

"Chi ammiro io? Vuole dei nomi? No, è meglio che le dica che cosa ammiro. Io rispetto il talento, il vero talento che è tutto il contrario dei bluff; la fedeltà, la vera fedeltà che è tutto il contrario dell’amicizia superficiale e passeggera; e la sincerità, persino la crudele sincerità che è tutto il contrario dell’ipocrisia. Ecco che cosa ammiro io ".     (Anna Magnani)


BTW she's sayin is: "Who i admire i? He wants the names? No, it is best to tell you what I admire. I respect the talent, the true talent that is just the opposite of the bluff; the loyalty, the true faithfulness that is quite the opposite of friendship superficial and transitory; and the sincerity, even the cruel sincerity that is quite the opposite of hypocrisy. Here's what I admire ". (Anna Magnani)

Thursday, June 28, 2012

Microfilm data & copy (library research)

Microfilm data & copy (library research)

Love this part of the "process" the most. 
hunting and gathering. 


bye (ttfn)-----BELOW IS WHAT I ATE AFTER WORKING. MAKING YOU HUNGRY HUH. I DONT BLAME YOU.  BYE BYE AGAIN! yummmmmmmmmmmmyYumYum








© 2012.  All Rights Reserved. 

Tuesday, June 26, 2012

RIP Nora Ephron

Nora, I will always remember our long talks at Sound One. RIP.

always,
joeyxo



http://www.soundone.com/

Monday, June 25, 2012

Fischinger installation at the Whitney

http://whitney.org/Exhibitions/OskarFischinger

Oskar Fischinger (1900–1967), Raumlichtkunst, 1926/2012. Three screen projection: three 35mm films transferred to high-definition video, black-and-white and color, sound; 10 minutes, looped...

In 1926, abstract filmmaker Oskar Fischinger (1900-1967) began performing multiple projector cinema shows in Germany with five 35mm film projectors, color filters and slides. Fischinger wrote of his concept of Raumlichtmusik (space-light-music), believing all the arts would merge in this new art. The critics called his performances "Raumlichtkunst" and praised Fischinger's  “original art vision which can only be expressed through film.” These shows represent some of the earliest attempts at cinematic immersive environments, and are a precursor to expanded cinema and 1960's light shows.

Oskar's early abstract experiments push aside narrative and reduce cinema to pure plane, scale, motion and color. Because of his highly accessible later work, especially from Radio Dynamics onward, and because of the musical dimension, he is generally regarded as a colorist/lyrical film-maker. But the early experiments including Raumlichtkunst are much more formalist and invested in the specificity of the medium.  They are closer to Malevich, the suprematists and the futurists in intent - all in search of the absolute in painting and in cinema. Long before he became an American, Fischinger was part of the international avant-garde of modernism's most radical phase.


Working with Fischinger's original 1920s nitrate film, this show has restored the 35mm film via traditional photochemical processes, transferred to HD, digitally restored the color, and mounted this 3 screen recreation of his c. 1926 - 27 performances.

Go to this. and think about ME. 


bye.

Friday, June 22, 2012

Now that's my kind of a shirt. 

Wednesday, June 20, 2012

Who gets to control and exploit the work of an artist ?

Aimee Mann's response to the recent Emily White letter ordeal :
All you guys posting about the music/piracy thing...thank you for caring, it means a lot to me that you took the time to read that article. Honestly, I try to not ask about how much money certain things bring in. It's not what I think about when I'm making a record or whatever...it's just that you realize you have to make certain choices based on it. Can I afford a drummer this tour? A guitar tech? It's tricky...and sad, because I WANT to be able to give these guys a job, and have a great band, and play a great show, and have everybody make $.
Ok, all, thanks so much for listening/replying, you have been super sweet. Now I'm going to watch a documentary about the Band!


The article (link) :
http://thetrichordist.wordpress.com/2012/06/18/letter-to-emily-white-at-npr-all-songs-considered/


p.s. some responses to the issue. Prince is hilarious btw:
http://thetrichordist.wordpress.com/2012/05/03/roll-call-musicians-for-an-ethical-internet/

Saturday, June 16, 2012

Thursday, June 14, 2012

Wednesday, June 13, 2012

Polypropylene for archiving your celluloid films


























http://www.universityproducts.com/cart.php?m=product_list&c=1657&primary

p.s. thank you Amy 
conserve. preserve. screen. bye.
The storage of films in metallic boxes IS one of the main causes of their deterioration because of the rust. So Jane what is ur solution??Propylene boxes and containers prevent from any risk of rust and gases. Some little holes allow gas emanating from films to escape, preventing an accumulation that is another important factor of degradation (if you smell something like vinegar you gots urself major trouble).
Propylene boxes and containers are fireproof and contain less that 4% of halogen elements : in case of fire, it will generate few chlorine and bromine. These boxes are only dedicated to the storage of films on cores and not on reels. I placed a link up above where polypropylene boxes can be purchased (also re-photograph your films back onto film-stock for a true film preservation rather than onto any digital format).

so specs /specifications :
- Polypropylene
- Fireproof
- Less than 4% hologen elements

http://hcl.harvard.edu/hfa/

The Weissman Preservation Center at Harvard

Monday, June 11, 2012

keeping a can-do attitude. period!

http://www.huffingtonpost.com/2012/06/11/college-students-help_n_1587201.html?1339444528&ncid=edlinkusaolp00000009

How things look when I prepare...

-when working, it is important to remind yourself (myself duh) of what you want and not to get lost in the noise of it all.

- sadly one has to do a lot of interacting, which I find distracting. I avoid lunch and conversation as much as possible (unless you are paying for it you cheap Bast%#$d).

-there is no time or space for anything other than work. But there's a perceived cruelty in that focus.

-I'm exactly the same way Jane. I never talk to my driver (even though I don't have any driver) while going to work (even though I am unemployed). I never eat lunch with anybody.

- Yes. for me, though, interaction can be a necessary precursor to gaining access.

Access is the key to new ideas. and the polishing of old ones.  bye.

Saturday, June 9, 2012

press release



Press release

© 2012 Artists Rights Society (ARS).
Copyright © 2012 Jane Public Productions.
All rights reserved.

Friday, June 8, 2012

movies. popcorn. Friday. thank Gawd. Bye.





- Noomi was great.
- Locations great.
- Fassbinder great.
- C-Section scene was great.
- Entire Movie =  whateva.

BYE.
http://hyperallergic.com/53618/ridley-scott-prometheus/

Tuesday, June 5, 2012

Monday, June 4, 2012