If Charlie Parker Was a Gunslinger,There’d Be a Whole Lot of Dead Copycats: Seminal Image #953
O Dragão da Maldade contra o Santo Guerreiro
(Antonio das Mortes)
(Glauber Rocha; 1969)
Last Summer, Chicago based film and video artist Justin Jach spent a month in São Paulo, Brasil making A Series of Exchanges, a short film about graffiti as a form of social discourse..
U B U W E B - Film & Video: William S. Burroughs - Shotgun Paintings
During his later years in Kansas, Burroughs also developed a painting technique whereby he created abstract compositions by placing spray paint cans in front of, and some distance from, blank canvasses, and then shooting at the paint cans with a shot gun. These splattered canvasses were shown in at least one New York City gallery in the early 1990s.
In an interview with Gregory Ego, entitled “William Burroughs & the Flicker Machine,” as published in David Kerekes’ 2003 “Headpress (the journal of sex religion death),” William explains how he made ths shotgun art painting, and others.
couple in a garden - aaaaaaa
Rhizome | Merce Cunningham (1919-2009)
I do not believe it is possible to be too simple. What the dancer does is the most realistic of all possible things. And to pretend that a man standing on a hill could be doing everything except just standing is simply divorce. Divorced from life, from the sun coming up and going down, from clouds in front of the sun, from the rain that comes from the clouds and sends you into the drug store for a cup of coffee. From each thing that succeeds each thing. Dancing is a visible action of life.
— Merce Cunningham, “Space, Time and Dance,” Aspen, no. 5+6, 1967
“Murs ,murs” d’Agnès Varda (1981) (via mekas28again)
“XML-SVG Code, source code of the exhibition room of Galerie nächst St. Stephan”, 2009 by Karin Sander.
Jack Goldstein
by Jordan Kantor
WHITNEY MUSEUM OF AMERICAN ART, NEW YORK
In a 1972 film by jack Goldstein, a blurred image slowly comes into focus, ultimately sharpening to reveal a man staring straight into the camera’s lens. Although not conceived as such, the piece serves as an apt metaphor for the current state of Goldstein’s oeuvre, which has lately emerged from the fog of the not so distant past. A seminal figure of the New York art scene in the 1970S and early ’80s, Goldstein famously faded from prominence over the course of the years that followed, eventually moving to California in 1991 and ceasing to show new work. Recently, several exhibitions have brought the artist back into view: A pair of shows at the Kunstlerhaus Stuttgart and a retrospective at Magasin in Grenoble gave European museumgoers a chance to reappraise Goldstein’s output, while last year’s rehanging of Douglas Crimp’s 1977 “Pictures” exhibition at Artists Space whetted appetites in the United States (see Artforum, October 2001). Here at the Whitney, “Jack Goldstein: Films and Performance,” organized by f ilm-and-video curator Chrissie Iles, gave viewers a fuller picture of the artist’s early work—restaging a performance and screening twenty-two films, the majority of which had not appeared in New York in over two decades. Executed between 1971 and 1978, these works traced a move from gritty filmed studio actions to the slick appropriative shorts for which Goldstein is better known. Together, they recounted a key episode in the emergence of postmodernism.
Cindy Workman - Large Woman 17, 2006, 64-1/2 x 49-1/4”, unique digital print, plexiglass and frame
“These composite images invite the viewer to perceive many roles at once. While addressing the complexity of today’s female self they invite the observer to process and examine this new model, continuing art’s long tradition of shifting universal perceptions and prevailing standards.”
(via junkyard.dogs)
via dropular.net
Scene from Fellini’s 8 1/2 (via Desvelos)
Two magicians performing at a dinner party succesfully read the words “Asa nisi masa” from Guido’s mind. As the scene progresses into a flashback sequence, we are given a glimpse into Guido’s childhood and the origins of the cryptic phrase are revealed.
