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Winner: Congratulations to Ezzestan! I have Flickr mailed you for your contact info! Wishing everyone a creative week! :)
Here's a Holiday Weekend RAK ATC, all you have to do to be entered is tell me a new art technique you are wanting to learn/try.
Winner will be chosen randomly.
Open to international too.
Thanks for looking, friends - Wishing you all a peaceful, relaxing weekend! :)
Various Artists
Wednesday 6 November, 7:00pm - 9:00pm
George Orwell
168 Perth Road
Dundee, DD1 4JS
Join us for a curated evening of Artist short films from around the globe. Based on this year’s festival theme REACT; NEoN has selected a series of films covering topics such as gender, environment and immigration.
Featuring work by BOM Fellow Emily Mulenga and other artists Georgie Roxby Smith, Jenny odell, Elaine Hoey, Chloé Galibert-Laîné, Shelley Lake, John Butler, Kevin B Lee, shawné michaelain holloway, Jennifer Chan, Shelly Lake and Greg Bath.
Full screening notes:
Max Almy, Perfect leader, (1983), 4 mins. 15 secs.
A satire of the political television spot, Perfect Leader shows that ideology is the product and power is the payoff. The process of political image making and the marketing of a candidate is revealed, as an omnipotent computer manufactures the perfect candidate, offering up three political types: Mr. Nice Guy, an evangelist, and an Orwellian Big Brother. Behind the candidates, symbols of political promises quickly degenerate into icons of oppression and nuclear war.
Greg Barth, Epic Fail, (2017), 5 mins. 32 secs.
Epic Fail is an avant-garde essay that questions what happens when political discourse fails to connect with voters, and truth is impacted by fake news. Based on the political events that shook 2016, the film imagines a reality that is both forged and blurred depending on how we perceive it; using existential currents inspired by Jean Paul Sartre’s Nausea.
The result is a surreal political satire that revolves around a vote for world peace that has dramatic consequences.
John Butler, Xerox’s Paradox, (2018), 2 mins.
A new workwear collection for the age of intelligent supertasking. Xerox’s fear of a paperless office led to the GUI, which, in turn, led to an explosion in the amount of printed matter. Xerox’s Paradox is about technology’s broken promises. The more we automate, the harder we must work.
Jennifer Chan, *A Total Jizzfest*, (2012), 3 mins. 22 secs.
A sample of the richest, sexiest men in computer and internet history.
Chloé Galibert-Laîné, My Crush was a Superstar, (2017), 12 mins. 30 secs.
This desktop documentary follows an ISIS fighter through a trail of messages, videos and postings to uncover his existence in both social media and reality. Part of Bottled Songs, a series of video letters investigating desire, power and terrorism in online and social media. The videos, recorded from the researchers’ desktops, depict and interrogate their subjects’ compulsive engagement in the production of everyday myths and fictions about themselves and others.
Elaine Hoey, Animated Positions, (2019), 9 mins. 47 secs.
This work draws reference from 19th century European nationalist paintings and explores the role of art in the portrayal of jingoistic patriotic ideals that have become culturally symbolic in the formation of the nation state. This piece re-animates the war like stances and positions of bodies found within these paintings, using character animation taken from the video game Call of Duty. The work challenges notions of nostalgia for the nation state, creating a contemporary critique of the underlying violence that underpins much of todays nationalistic ideologies.
Shawné Michaelain Holloway, GEAR-REVIEW(1)__BEGINNERS-VEST.MP4, (2016), 1 min. 55 secs.
GEAR-REVIEW(1)__BEGINNERS-VEST.MP4 is a response to internet’s “Gear Review” video genre. Using a video sourced from Youtube’s preparedness community alongside a video of the artist performing live for her leather community, this work asks questions about the ways we get to know, use, and care for our objects. Whether them for war, for sex, or both, we’re obsessed with function and feature, forcing fetish into the realm of the domestic and accessible.
Shelley Lake, Polly Gone, (1988), 3 min. 9 secs.
A day in the life of a robot.
Kevin B. Lee, The Spokesman, (2018), 12 mins. 30 secs.
The Spokesman investigates the online traces of John Cantlie, a British news reporter who was kidnapped in 2012 and later appeared in several Islamic State propaganda videos. Responding to Cantlie’s videos, Kevin analyzes Cantlie’s British accent and professional composure, constructed over many years of media appearances. Part of Bottled Songs, a series of video letters investigating desire, power and terrorism in online and social media. The videos, recorded from the researchers’ desktops, depict and interrogate their subjects’ compulsive engagement in the production of everyday myths and fictions about themselves and others.
Emily Mulenga, Now that we know the world is ending soon…what are you gonna wear?, (2019), 4 mins. 5 secs
Religious imagery and symbols of capitalist excess intertwine under the ever-watchful eye of CCTV cameras. Loneliness occurs even in the most crowded, noisy and colourful of rooms. Fractured identities span the online and offline worlds. Late-stage capitalism has left us with a disconnect from others and from a spiritual centre, and consumerism purports to fill the void; but never truly satisfies. There’s a condition of perpetual information overload in an oversaturated, neon, dystopian cityscape. There’s also a rabbit.
Jenny Odell, Polly Returns, (2017), 3 mins. 2 secs.
Polly Returns is based on Shelley Lake’s 1988 computer animation, Polly Gone, which features an isolated female robot doing everyday tasks inside a futuristic dome house. In my version, the robot has returned in 2017. The soundtrack is inspired by the original from Polly Gone, which itself was based on the soundtrack from The Day the Earth Stood Still.
Georgie Roxby Smith, Lara Croft Domestic Goddess I & II, (2013), 2 mins. 14 secs.
Georgie Roxby Smith’s hacked Lara Croft Tomb Raider video game shows the familiar icon for violent femme fatale bad-assery in the throes of orgasmic housekeeping, a scene that could be read as neo-Friedan, with her “domestic goddess” subject trapped between the banally physical and the extraordinarily virtual. The value judgments are unclear, the equation destabilized, as Croft joyfully irons shirts with a bow and arrow slung over her back, letting out cries that are undiscernibly battle grunts or orgiastic moans.
Photography Kathryn Rattray
Si le château de Groussay, à Montfort-l’Amaury est mis en avant à chaque nouvelle saison du tournage du “Meilleur pâtissier”, il est aussi connu pour ses fabriques ou “folies” qui ornent le parc. Le château et les fabriques sont classés monument historique depuis 1993. Son nouveau propriétaire, depuis 2001, a décidé de l’ouvrir au public.
Des œuvres originales
On en compte quatorze, plus une inachevée. Leur créateur est le décorateur et collectionneur Charles de Beistegui qui les a construits dans les années 1950-197, à l’aide de ses fidèles artistes Emilio Terry et Alexandre Serebriakoff. Il est aussi le propriétaire du domaine, qu’il rachète en 1938. Ancienne “maison de campagne”, il le transforme à sa guise en château, car l’édifice n’est pas classé monument historique. En vingt ans, il a imaginé et réalisé une œuvre aussi originale que la décoration intérieure du château, en s’inspirant des parcs du XVIIIe siècle et des jardins anglo-chinois. La première construite est “le temple d’amour” en 1949, qui rappelle le Trianon.
Voyage autour du monde
Ces “folies” sont une véritable découverte du monde, inspirées de monuments ou cultures de différents pays dans un parc s’étalant sur plus de 30 hectares. La tente tartare, par exemple, est inspirée de celle du roi Gustave III de Suède, élevée en 1781 à Drottningholm. Celle du jardin du château de Groussay a été édifiée en 1960 et conçue en tôle peinte. Elle abrite dix mille carreaux de Delft. Le pont palladien, lui, nous transporte en Angleterre puisqu’il rappelle celui de Wilton-Park mais aussi celui de Guglie à Venise, où Charles de Bestegui possédait le palais Labia. Parmi les fabriques construites par ses fidèles amis, la pagode chinoise a été réalisée par Emilio Terry, décorateur et architecte d’origine cubaine, en 1963. Le parc est aujourd’hui labellisé “Jardin remarquable”. Le site est fermé au public et ouvre occasionnellement lors d’événements exceptionnels.
Shots from the 2016 SMASH! event at Rosehill Gardens, photographed by Benny Tang.
Facebook: www.facebook.com/BenTPhotography
Website: www.bennytphotography.com
He's SJF The Ninth, and signs his work that way. All the letters are a different flavor of cake, and the pallet is raised at an angle for maximum presentation.
Elin
Various Artists
Wednesday 6 November, 7:00pm - 9:00pm
George Orwell
168 Perth Road
Dundee, DD1 4JS
Join us for a curated evening of Artist short films from around the globe. Based on this year’s festival theme REACT; NEoN has selected a series of films covering topics such as gender, environment and immigration.
Featuring work by BOM Fellow Emily Mulenga and other artists Georgie Roxby Smith, Jenny odell, Elaine Hoey, Chloé Galibert-Laîné, Shelley Lake, John Butler, Kevin B Lee, shawné michaelain holloway, Jennifer Chan, Shelly Lake and Greg Bath.
Full screening notes:
Max Almy, Perfect leader, (1983), 4 mins. 15 secs.
A satire of the political television spot, Perfect Leader shows that ideology is the product and power is the payoff. The process of political image making and the marketing of a candidate is revealed, as an omnipotent computer manufactures the perfect candidate, offering up three political types: Mr. Nice Guy, an evangelist, and an Orwellian Big Brother. Behind the candidates, symbols of political promises quickly degenerate into icons of oppression and nuclear war.
Greg Barth, Epic Fail, (2017), 5 mins. 32 secs.
Epic Fail is an avant-garde essay that questions what happens when political discourse fails to connect with voters, and truth is impacted by fake news. Based on the political events that shook 2016, the film imagines a reality that is both forged and blurred depending on how we perceive it; using existential currents inspired by Jean Paul Sartre’s Nausea.
The result is a surreal political satire that revolves around a vote for world peace that has dramatic consequences.
John Butler, Xerox’s Paradox, (2018), 2 mins.
A new workwear collection for the age of intelligent supertasking. Xerox’s fear of a paperless office led to the GUI, which, in turn, led to an explosion in the amount of printed matter. Xerox’s Paradox is about technology’s broken promises. The more we automate, the harder we must work.
Jennifer Chan, *A Total Jizzfest*, (2012), 3 mins. 22 secs.
A sample of the richest, sexiest men in computer and internet history.
Chloé Galibert-Laîné, My Crush was a Superstar, (2017), 12 mins. 30 secs.
This desktop documentary follows an ISIS fighter through a trail of messages, videos and postings to uncover his existence in both social media and reality. Part of Bottled Songs, a series of video letters investigating desire, power and terrorism in online and social media. The videos, recorded from the researchers’ desktops, depict and interrogate their subjects’ compulsive engagement in the production of everyday myths and fictions about themselves and others.
Elaine Hoey, Animated Positions, (2019), 9 mins. 47 secs.
This work draws reference from 19th century European nationalist paintings and explores the role of art in the portrayal of jingoistic patriotic ideals that have become culturally symbolic in the formation of the nation state. This piece re-animates the war like stances and positions of bodies found within these paintings, using character animation taken from the video game Call of Duty. The work challenges notions of nostalgia for the nation state, creating a contemporary critique of the underlying violence that underpins much of todays nationalistic ideologies.
Shawné Michaelain Holloway, GEAR-REVIEW(1)__BEGINNERS-VEST.MP4, (2016), 1 min. 55 secs.
GEAR-REVIEW(1)__BEGINNERS-VEST.MP4 is a response to internet’s “Gear Review” video genre. Using a video sourced from Youtube’s preparedness community alongside a video of the artist performing live for her leather community, this work asks questions about the ways we get to know, use, and care for our objects. Whether them for war, for sex, or both, we’re obsessed with function and feature, forcing fetish into the realm of the domestic and accessible.
Shelley Lake, Polly Gone, (1988), 3 min. 9 secs.
A day in the life of a robot.
Kevin B. Lee, The Spokesman, (2018), 12 mins. 30 secs.
The Spokesman investigates the online traces of John Cantlie, a British news reporter who was kidnapped in 2012 and later appeared in several Islamic State propaganda videos. Responding to Cantlie’s videos, Kevin analyzes Cantlie’s British accent and professional composure, constructed over many years of media appearances. Part of Bottled Songs, a series of video letters investigating desire, power and terrorism in online and social media. The videos, recorded from the researchers’ desktops, depict and interrogate their subjects’ compulsive engagement in the production of everyday myths and fictions about themselves and others.
Emily Mulenga, Now that we know the world is ending soon…what are you gonna wear?, (2019), 4 mins. 5 secs
Religious imagery and symbols of capitalist excess intertwine under the ever-watchful eye of CCTV cameras. Loneliness occurs even in the most crowded, noisy and colourful of rooms. Fractured identities span the online and offline worlds. Late-stage capitalism has left us with a disconnect from others and from a spiritual centre, and consumerism purports to fill the void; but never truly satisfies. There’s a condition of perpetual information overload in an oversaturated, neon, dystopian cityscape. There’s also a rabbit.
Jenny Odell, Polly Returns, (2017), 3 mins. 2 secs.
Polly Returns is based on Shelley Lake’s 1988 computer animation, Polly Gone, which features an isolated female robot doing everyday tasks inside a futuristic dome house. In my version, the robot has returned in 2017. The soundtrack is inspired by the original from Polly Gone, which itself was based on the soundtrack from The Day the Earth Stood Still.
Georgie Roxby Smith, Lara Croft Domestic Goddess I & II, (2013), 2 mins. 14 secs.
Georgie Roxby Smith’s hacked Lara Croft Tomb Raider video game shows the familiar icon for violent femme fatale bad-assery in the throes of orgasmic housekeeping, a scene that could be read as neo-Friedan, with her “domestic goddess” subject trapped between the banally physical and the extraordinarily virtual. The value judgments are unclear, the equation destabilized, as Croft joyfully irons shirts with a bow and arrow slung over her back, letting out cries that are undiscernibly battle grunts or orgiastic moans.
Photography Kathryn Rattray
It's a tangible death and I can almost handle it.
When it cancels my breath hold your hand over my candle then rest.
There's no pain in this fist's release.
I put my elbows on the window frame, glass pressed against my cheeks.
Everything I see is mine.
I never look back--I couldn't ask the same of those I leave behind.
They're just bubbles rushing toward the water's surface.
A clumsy stage hand making a grand exit...caught in the curtains.
A person should have pulled this rope long ago.
Before the water hole froze over I saw the snow.
The best cue for rescue is a couple yanks.
Pressed my luck, held my breath enough, but then my stomach sank.
Should have never been walking the plank with cement shoes
without an oxygen tank or wet suit.
But you don't need a hook for the worms to dance.
Destitute conditions leave fishermen victims of circumstance.
Off to the bathroom to sniff another line.
There's a big party going on and you're not invited.
Now I'm just howling at the moon, sippin' on its shine.
There's a huge rock hurling through space, won't you help me light it?
Playing jump rope with my veins tonight.
Budget's dumb low; but I paid the price.
The DJ saved my life.
Nothing could cut into my fun, but the razor might.
"Product Placement"-- Sage Francis
Just completed an 8” x 10” colour study from the wonderful andrew_tischler_artist PORTRAIT TUTORIAL series. I can’t speak more highly of Andrew’s on-line tuition!! I’ve loved working on this portrait and learnt heaps. 🎨
#andrew_tischler_artist
#portraitpainting
#artoninstagram
Shot this over the weekend when I had gone to get some 'diyas' for Diwali... After finishing my shopping, I had the privilege of interacting with a couple of craftsmen over there. They had come to Hyderabad all the way from Rajasthan to sell clay idols & statues for Diwali... These craftsmen are highly talented but sadly, not financially well-off. Hope this Diwali brings them good business & prosperity!
Nicosia is the capital and largest city on the island of Cyprus, as well as its main business centre.It is located near the centre of the Mesaoria plain, on the banks of the River Pedieos.
There is one thing the photograph must contain, the humanity of the moment.
We are making photographs to understand what our lives mean to us.
The best thing about a picture is that it never changes, even when the people in it do.
The camera is an instrument that teaches people how to see without a camera.
I really believe there are things nobody would see if I didn’t photograph them.
The effect of wind on the surface of water was the inspiration for this lovely pond cover.
Made by Artist Blacksmith, Adrian Stapleton of Trinity Forge.
Visit him at trinityforge.co.uk
Lighting/costume/prop test for the Artist character, played by Cassandra Sechler in her film Wireboy.
Nicosia is the capital and largest city on the island of Cyprus, as well as its main business centre.It is located near the centre of the Mesaoria plain, on the banks of the River Pedieos.
There is one thing the photograph must contain, the humanity of the moment.
We are making photographs to understand what our lives mean to us.
The best thing about a picture is that it never changes, even when the people in it do.
The camera is an instrument that teaches people how to see without a camera.
I really believe there are things nobody would see if I didn’t photograph them.
I made the rainbow picture months ago but only came across it again yesterday. So I woke up this morning dreaming of an Artist Cat to go with it! Salvador Cati, perhaps?!
Concours Gymnastique artistique (GAM/GAF) de la Fête Cantonale Vaudoise de Gymnastique, 19.06.2022. ©Serge Widmann
An exhibition on folk art in Mumbai.
This artist is a Warli. Warlis have this unique art, they decorate their walls depicting their life using stick figures and unique motifs for the different elements of nature...here this artist explained that the drawings were made on cloth with a light wash of dung or red earth..bamboo sticks were used to draw the pictures !