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The Artist as Content started out as a survey of self-portraiture in new media. It quickly became apparent, however, that the role of the artist in new media has gone far beyond that of simply subject or even creator. The body, actions, ideas and persona's of the artist can now be expressed and explored in many subtle and evocative ways.
The shifting perception of the role of the artist within the artwork, during and after its creation, has advanced in tandem with the exploration of motion, time, and interactivity in art. The artists in this issue appear in the artworks in vastly different ways, and at times you may have to look hard to find them, but their presence has an unmistakable impact on the work.
Further Information:
Artists included in this issue:
JIM CAMPBELL : Self-portrait of Paul DeMarinis
JUAN DELGADO : Who are you entertaining to?
CHARLES GICK : Draught Table
DENISE MARIKA : Detritus / Bisected
CHRISTOPHER MINER : Making God Happy
ERIKA VAN NATTA : For Lucien
Featured Curators:
Marisa Olson
Dr. Elizabeth Cowie
Elizabeth K. Menon
George Fifield
Bill Arning
Denise Markonish
| Catalog Number: MC-266 |
Type: Shorts Compilation |
Genre: New Media, Modern Culture |
| Copyright: 2004 |
Length: 62 minutes |
Format:
DVD Region: 0 (All) |
| TV System: NTSC |
ISBN: 0-9479657-0-7 |
UPC: 9780974965703 |
| Label: |
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Films In Compilation
Self Portrait of Paul DeMarinis 2003 directed by
Jim
Campbell
USA,
Experimental,
2003,
00:02:30
Self Portrait of Paul DeMarinis 2003 is an installation in 2 parts; a transmitter and a receiver. The transmit side consists of a low resolution image stored in computer memory feeding an audio speaker. The image is encoded into a sequence of voice tones. A low pitched note represents a black pixel and a high pitched note represents a white pixel with tones between representing gray levels between black and white. As these tones (or pixels) are emitted from the speaker they are picked up by the microphone (or receiver) and decoded into a gray level and displayed as the next pixel on a screen. This transmit/receive process is based on sound and thus noise in the room can cause distortion in the image. It takes about 90 seconds for the complete image to be transmitted and displayed and then the cycle starts over again. Both the image and the voice are Paul DeMarinis’.
Transforming, distorting, re-encoding, clarifying… streams of information are a way of describing Paul DeMarinis’ work and in seeing his work from this perspective I have been quite inspired by it, as much of my own work is in a similar vein. This work is a small homage to Paul. In particular for this work I was looking at encoding an image into a sequence of sounds such that the process of encoding and retrieval would involve human scale methods(2 pixels per second instead of say 1,000 or 1,000,000 pixels per second) and environments so that that people in the vicinity would be aware of their relationship to the distortion of the process by being noise in system.
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Who Are You Entertaining To? directed by
Juan
Delgado
United Kingdom,
Experimental,
2002,
00:14:00
Since the late 80s, I have explored ideas of displacement, cruelty and trauma. In 1989, I developed a photographic series examining representations of gender, Transformers (1989 – 1995) and L’Androgyne Sexuel (1994 – 1996) where the dynamic interplay between gender roles and the economies of power are addressed.
Drawing upon personal experiences the photographic series The Wounded Image (1997-2002) stand as a visual discourse on violence and the emotional response that this subject provokes. The subject of exclusion was also explored in don’t look under the bed (2001) a two facing-screen video installation based on the real story of a boy who committed suicide after being taunted for being gay, and in Who are you entertaining to ? (2002), a video performance in which I continue my enquiry on cruelty whereas questioning my role –political/social- as an artist.
In 2003 I developed a project in collaboration with the London Metropolitan University and a group of international artists. The piece, entitled flêches sans corps (2003) looks at the tragic reality of the ‘so-called’ illegal immigrants and the traumatic experience that most of them go through after being forced to leave their land.
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Draught Table directed by
Charles
Gick
USA,
Experimental,
2003,
00:10:00
Charles Gick’s art explores intersections between memory, the body, emotions, and sensory experiences shared with the natural environment. His work is affected by the phenomenal and ephemeral qualities found in the environment—the passing of a cloud, a violent storm, the heat of summer, or the cracking earth on the dried up belly of a pond. Gick’s installations combine earth art, process, video, photography and found objects to express personal and collective memory, loss and physicality. In Drought Table, mud has been left to dry on a dining room table, creating a network of deep fissures. Across the table a “conversation” of vocal chords takes place, as a man in a vast farm landscape attempts communication with a woman framed in an urban environment.
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Detritus/Bisected directed by
Denise
Marika
USA,
Experimental,
2002,
00:07:00
"Detritus" is a video projection in which the nude figure is crouched amidst the turbulence of demolition. Within a deteriorating urban landscape, the jaws of a crane grab at the body stirring up clouds of dust and debris. The figure, occasionally obscured by the haze, remains unaware of the surrounding danger.
"Bisected" consists of three wall-mounted, fur-covered panels with two steel plates mounted on each surface. Projected on each panel is a woman, as seen from the top of her head, bisected by a reveal of fur between the steel plates. The body position is different in each piece; face down, face up, she lifts her head and lowers it, repeatedly laboring against its weight. As exhaustion sets in, the gesture becomes a personal struggle.
I use the emotional landscape of the body to explore person and place, giving expression to the vulnerability, pain and compassion that mark our humanity.
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Making God Happy directed by
Christopher
Miner
USA,
Experimental,
2003,
Video,
00:04:30
“Making God Happy” is part of an 8-piece body of work entitled “This Creature, I Am.” Inspired by Elvis’ rendition of the old time spiritual “Peace in the Valley,” the videos explore the dual nature of a convicted heart, longing for transcendence and clarity amid the desires of the flesh. Elvis sings that he will be “changed from this creature, that I am.” Miner’s work is a contemporary portrait of the age-old conflict of the regenerated soul in the body of mortal man.
Named “Christopher” by his mother, because it means “Christ-bearer”, the artist uses his own religious life-history to confront the presence of faith in a heart prone to wander.
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For Lucien directed by
Erika
Van Natta
USA,
Experimental,
2003,
Video,
00:25:00
I create formal building blocks of ideas, characters, and concepts, layering them and interrelating them until I have built up a concise vision of the whole. I don't write the story, any more than I actually direct in the traditional sense. I am an orchestrator, or a conductor of situations, sometimes merely a DJ, spinning, sampling, and recycling, people, source material, emotions, and sound, all the while being informed by mass media, my own personal vision, the memories both strong and faded of my past, pushing that through a feedback loop of intense editing, recontextualization, and polarization, all in order to blur the lines between what is real, what is perceived, and what is pure fiction.
For Lucien is an investigation into how fantasy and reality become blurred, through the power of delusion. The character Lucien, who could also be described as a set of ideas, is comprised of three different characters both real and invented. Throughout the piece they border between endearing and pathetic, as they latch onto idiosyncratic, impossible dreams, which have been perverted from mass media influences. Lucien in his three forms is portrayed in varying degrees of escapism. At best he is completely emerged in fantasy, and at his weakest he is confessional and self-loathing. Although these forms of escapism, whether self-prescribed or constructed narratives, are obsessive and somewhat extreme, the fear, self-doubt and depression that drives them to such ends are real and human.
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