The cooking video spoof was a parody of the Julia Childs’ cooking show airing at that time. WN: Sure. Semiotics of the Kitchen is the perfect Wet Conceptual work. Could you briefly break down its “Wet” characteristics for me. Significantly, the importance of immaterial objects was superseded by immaterial labor which was performative. GR: I really liked Rosler’s Semiotics of the Kitchen. Piper along with Yoko Ono, Mary Kelly, Martha Rosler, and Judy Chicago had to await the crisis in social, political, and cultural conditions that the rise of the information and knowledge economy provoked for their exploits to be appreciated as part of the conceptual genre. In the dozen paintings on view, Ferris uses spray guns, oil sticks and brushes, palette knives for building up and scraping away, as well as his body in paintings that explore what possibilities the medium may yet yield.Īdrian Piper’s Catalysis III, in which the artist walked around New York City wearing a shirt emblazoned with the words ‘wet paint’ helped push artist Warren Neidich to moisten the age-old term Conceptualism. If “sWISHes” is a painting of anything it may be this: a dogged belief that painting at this late stage still has a future. The resulting painting strikes a delicate harmonious cohesion, cleverly creating a sense of depth and motion, with no real-world referent, except maybe pixels and graffiti. His nods to digital culture and use of the grid suggest an affinity with Albert Oehlen and, more so, Laura Owens, as in “sWISHes” (2023), a loose tangle of squiggles - a not-quite calligraphy of yellow and aqua spray paint - that dances atop a field of squares in a variety of contrasting colors predominated by blue on pink. His willingness to explore the possibilities of a particular tool through painting mirrors Jasper Johns. I run the images through a batch encoder with Irfanview to get rid of black borders on the image, rename the files, and conform them to jpg.Ħ.The ecstasy that the Brooklyn-based painter Keltie Ferris finds in color recalls Matisse. and bring down the number of stills to my 60-65 golden number.ĥ. I go through the folder again (immediately)looking at the frames on large preview and try and remove frames that replicate a certain lighting style or framing. I’m then left with usually around 80-100 really interesting frames. I view all the frames as a slideshow and I remove any frame that there are doubles of (someone might be blinking in first frame and normal in second) or remove any that seem less interesting this time around.Ĥ. So the next step is to edit, usually there might be a week or 2 between the first grab and this edit stage. This usually leaves me with around 200-250 frames per film. Depending on mood I could spend a few hours just doing the grabbingģ. I watch through the movies on VLC, usually between 3x and 4x speed while listening to podcasts, grabbing any frame that interests me. i try to keep a mix of styles.genres/directors and DP’s so I dont get bored while working.Ģ. Make a to do pile, its a combination of recommendations, stuff Ive been enjoying myself, stuff I want to rewatch…. Hi Arturo, Ive considered having a donate button, but I feel bad for asking for money, maybe I’ll post an amazon wishlist so people can contribute in that way sending me movies I want to feature on the site.ġ.
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