Art Prize: Artist: ?
Thursday, October 14, 2010
Camilee Utterach
Shifting Time — San Jose
2010
Shifting Time – San Jose is an interactive video installation that juxtaposes the past and present, where the viewer’s body becomes the interface to navigate between. In this piece, commissioned by the City of San Jose for the new terminal of the San Jose International airport, viewers encounter a projected still image. As they walk closer to the projection wall, the surface disrupts, pushing deeper into time in the pre-recorded video clips. Archival film footage blends with high-definition footage from the present, and viewers are able to travel back and forth through time by moving towards and away from the projection wall. Utterback’s software deconstructs the frame as the unit of playback, allowing multiple moments to appear simultaneously. This strategy speaks both to the possibilities of digital tools, and the dynamics of our fluid memories of places and moments in time.
Shifting Time – San Jose is based on Utterback’s previous Liquid Time Series, where people’s movements control playback in film clips depicting sites of transit in urban areas. Shifting Time – San Joseincorporates similar software and technology as theLiquid Time Series installations, but extends the period of time viewers can see overlap from seconds to decades.
Each clip in Shifting Time – San Jose incorporates historical footage of various sites and activities in the San Jose area during the last century, as well as complementary contemporary footage. Some clips depict recognizable locations in the past and present. Other clips show ways people work, travel, and socialize, and how these pastimes have changed or endured over time. Multiple moments of time within each clip, as well as multiple moments of historic time, interleave and move back and forth with people’s movements. Moments from the past creep into the present – creating a visual metaphor of how history and our memories of a place affect our experiences in the present moment.
Videography: Thomas Eugene Green
Archival Research and Editing: Genevieve Hoffman
Archival Research and Editing: Genevieve Hoffman
Archival Footage provided by:
Oddball Film + Video (San Francisco)
History San Jose
MLK Library, San JosePermanently Installed:
Oddball Film + Video (San Francisco)
History San Jose
MLK Library, San JosePermanently Installed:
- The Norman Y. Mineta San Jose International Airport, San Jose, CA
Installed 2010
On view daily, 10am - 11pm
Located in Terminal B, Ground Floor (near the Information Center, between Ticketing and Baggage Claim)
www.sanjoseairport.org
Related:
Bibliography
- Cameron, Dan. “Running Out of Time.” Speed #3 — Against the Clock. Valencia Institute of Mod ern Art, Valencia, Spain.
- Jana, Reena. “The Ripple Effect” Wired Magazine, Vol.12.02, February 2004, pg. 60
- Megna, Michelle. “Be a Part of Art — a new exhibit lets you in on the show.” The New York Daily News, “Lifeline” section, Sunday, March 23, 2003
- D’Amato, Jennie. “All the Right Moves, the Art of Camille Utterback” PDN’s PIX, Vol. 7, Issue 1, February/March 2001
Wednesday, October 13, 2010
Veiling
file:///Users/margaret/Desktop/ghadirian_ausschnitt.jpg
| Shadi Ghadirian |
| "Domestic Life", 2002 |
 |
Prints on photographic paper |
 |
Week 11-20
The dangler, Radhika Kimji, dimensions variable, 2008, acrylic on metal. Photo Thierry Bal.
Born: | 1979 |
|---|---|
Country: | Oman |
Radhika Khimji studied at the Slade School of Fine Art, and the Royal Academy of Fine Art in London. Khimji's practice is informed primarily by the materiality and physicality of a making process. The surface of the object under construction is built up over time and the image is the residue of travelling on this very surface. Marks cover fragmented body shapes or drawings of images from popular culture. Khimji has shown widely in the UK and Europe. She has exhibited with Bose Pacia / Nature Morte at several international art fairs, at Nature Morte New Delhi, and at Bose Pacia New York. Khimji lives and works in Muscat and London.
Khimji exhibits in Iniva's 'Progress Reports: art in an era of diversity' exhibition (28 January - 13 March 2010).
Margaret Research week 1-10
Margaret's Research
WEDNESDAY, OCTOBER 13, 2010
Week 7- Kim Piotrowski:
Love this work, saw Kim speak at Oxbow.... Showing at Hyde Park Oct. 17th
Kim Piotrowski: Beds and Guns
Week 10- Christina Bothwell
Christina Bothwell
In my work I am drawn to the processes of birth, death, and renewal. What lies below the surface fascinates me and I try to capture the qualities of the "unseen" that express the sense of wonder that I feel in my daily existence. I am attracted to glass because it can do everything that other sculptural media can; in addition, it offers an inner space and transmits light.
My subject matter includes babies, animals, and children as they embody the essence of vulnerability that is the underlying theme in my work. Currently I am exploring metamorphosis as a topic, and have been incorporating figures within figures in my pieces. Within each glass figure there is a smaller figure seen through the surface of the glass.
I think of these pieces as souls, each being pregnant with their own potential, giving birth to new, improved versions of themselves.
Week 9- Photography
Thinking about where to go with my photography.. found this gallery in Chicago.
ARTIST STATEMENT: VESTIGES
Summary: VESTIGES is meant to evoke introspection about what impact each of us has upon
the world and those around us, and collectively, what impact all of us will have on humanity.
In The Mikado, the comic opera that deals with love and death, the lord high executioner sings about people he could easily execute who would not be missed. Although he starts with a satirical list of types of people who annoy him, he ultimately decides that "it really doesn't matter who you put upon the list, for they'd none of 'em be missed--they'd none of 'em be missed!”
Inspired by this concept, this portfolio of photographs explores what indelible mark each of us leaves behind. Ghostly, Geisha-like images, that are but remnants of a conventional portrait, are meant to evoke introspection about what impact each of us has upon the world and those around us, and collectively, what impact all of us will have on humanity.
Like Egyptian death masks sculpted to replicate the living rather than cast from the features of the dead, each subject, full of life, stands as a memento to eternity. Having experienced great loss at an early age and throughout my life, I have chosen those close around me as subjects for this exploration.
My work draws from diverse influences. I’m inspired by the theatrical world, viewing the hand of man and nature’s landscapes as symbols for drama, pathos, and emotion. From a painterly perspective, I’m moved by the chiaroscuro of the Renaissance and draw inspiration from the soft pastels and misty light of the impressionists. The work of the American master Edward Hopper speaks to me about the moment and a sense of isolation. In the photographic world, Ernst Hass’ use of color, motion and light is etched into my psyche. Minor White’s perspective that one does not create a great photograph by capturing something simply for "what it is", but rather "for what else it is" continues to guide me.
In making a photograph I work to capture a moment that reveals itself through an artistic impulse, to allow myself to be touched and to be influenced by what I see, to articulate that experience, and to illuminate it. My photographs reflect who I am and how a subject impacts me. I look through the lens of my camera and close my eyes to see.
Playwright Arthur Miller once said he was trying to create a poem from the evidence. And so I go, creating that poem in my own hand through my photographs.
-Lou Raizin
Untitled (Two Sisters)
2007
Archival Pigment Print on Stretched Canvas
40 inches x 40 inches
Say its Not True
2009
Archival Pigment Print
12 x 12 inches
ARTIST STATEMENT: VESTIGES
Summary: VESTIGES is meant to evoke introspection about what impact each of us has upon
the world and those around us, and collectively, what impact all of us will have on humanity.
In The Mikado, the comic opera that deals with love and death, the lord high executioner sings about people he could easily execute who would not be missed. Although he starts with a satirical list of types of people who annoy him, he ultimately decides that "it really doesn't matter who you put upon the list, for they'd none of 'em be missed--they'd none of 'em be missed!”
Inspired by this concept, this portfolio of photographs explores what indelible mark each of us leaves behind. Ghostly, Geisha-like images, that are but remnants of a conventional portrait, are meant to evoke introspection about what impact each of us has upon the world and those around us, and collectively, what impact all of us will have on humanity.
Like Egyptian death masks sculpted to replicate the living rather than cast from the features of the dead, each subject, full of life, stands as a memento to eternity. Having experienced great loss at an early age and throughout my life, I have chosen those close around me as subjects for this exploration.
My work draws from diverse influences. I’m inspired by the theatrical world, viewing the hand of man and nature’s landscapes as symbols for drama, pathos, and emotion. From a painterly perspective, I’m moved by the chiaroscuro of the Renaissance and draw inspiration from the soft pastels and misty light of the impressionists. The work of the American master Edward Hopper speaks to me about the moment and a sense of isolation. In the photographic world, Ernst Hass’ use of color, motion and light is etched into my psyche. Minor White’s perspective that one does not create a great photograph by capturing something simply for "what it is", but rather "for what else it is" continues to guide me.
In making a photograph I work to capture a moment that reveals itself through an artistic impulse, to allow myself to be touched and to be influenced by what I see, to articulate that experience, and to illuminate it. My photographs reflect who I am and how a subject impacts me. I look through the lens of my camera and close my eyes to see.
Playwright Arthur Miller once said he was trying to create a poem from the evidence. And so I go, creating that poem in my own hand through my photographs.
-Lou Raizin
230 West Superior St.
Chicago, IL 60654
(312) 988-4033
Gallery Hours
Tuesday- Friday 10:30am- 5:00pm
Saturday 11:00 am - 5:00 pm
Sunday & Monday Closed
Current Exhibition:
In-Between
September 17 - October 30, 2010
Reception: Friday, Sept. 17
5:00 - 7:30 pm
Artists will be present
Upcoming Exhibition:
Culture & the Body
November 12 - December 31, 2010
Reception: Friday, Nov.125:00 - 7:30 pm
Chicago, IL 60654
(312) 988-4033
Gallery Hours
Tuesday- Friday 10:30am- 5:00pm
Saturday 11:00 am - 5:00 pm
Sunday & Monday Closed
Current Exhibition:
In-Between
September 17 - October 30, 2010
Reception: Friday, Sept. 17
5:00 - 7:30 pm
Artists will be present
Upcoming Exhibition:
Culture & the Body
November 12 - December 31, 2010
Reception: Friday, Nov.125:00 - 7:30 pm
TUESDAY, OCTOBER 5, 2010
Week 8: Oct. 10
- Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory
- Theatre Journal
Vol. 40, No. 4 (Dec., 1988), pp. 519-531
(article consists of 13 pages) - Published by: The Johns Hopkins University Press
- Stable URL: http://www.jstor.org/stable/3207893
ese will be here for discussion as well as two other showing artists (Michael Dinges & Carol Jackson).
Seperately, the Jack Olson Gallery is now featured on ArtSlant! We are currently configuring our page at ArtSlant, and it will be updated consistently with both our Facebook and Blog.
Posted by Jacob v. at 11:32 AM 0 comments
http://www.artslant.com/
SUNDAY, OCTOBER 3, 2010
Week 6 -9/16
READINGS:
STUDIO:
Artists inspired by this week:
Artists inspired by this week:
Jorge Pardo
file:///Users/administrator/Desktop/Jorge%20Pardo%20/7d9fc58d70.jpg
_________________________________________________
Bits and Pieces:
http://www.lehman.edu/vpadvance/artgallery/gallery/bits_pieces_checklist.htm
Patrick Donahue, Betty, I Know How You Feel, 2006
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