Video with 1 note
“Fair Game was crafted after many hours spent culling over one hundred and fifty episodes of Fox Broadcasting Company’s reality-based television program COPS. In the process, all of the foot pursuit segments were extracted and then edited into one continuous looped sequence. The cinéma-vérité style of the originally televised footage lends itself well to this technique, as the fast-paced movement and rough-cuts of each clip seem to stream endlessly into one another. This, in effect, creates the visual suggestion that the police and subject are caught in a perpetual chase, a futile game of cat and mouse. FairGame, with its regular beat resulting from the repetitive heavy breathing and foot stomping of the microphoned officers and the constant jostling of the hand-held camera, eventually commits the viewer to a state of mind that’s almost meditative .
“Fair Game was originally shown at Transformer Gallery in Washington, D.C. in 2005. The gallery’s storefront location— in what was at the time a very recently gentrified neighborhood made it perfect for community engagement. The video was made viewable from the street as a large scale projection, and speakers were mounted to the roof of the gallery, so that the work could be experienced trough all hours of the day and night, regardless of the established hours.” Jason Zimmerman, Fair Game.
Here he’s [Kokoschka] revealing how insecure he is without his lover, Alma Mahler. This gets particularly obvious if you look at the colors that bear no relationship to reality. He appears as a nervous wreck here. Meanwhile she’s sleeping away, having a wonderful time.
Eric Kandel, “‘I See Psychoanalysis, Art and Biology Coming Together’,” interview by Jonann Grolle, Der Spiegel, Oct. 11, 2012
Note also the reliance on dependent clauses, one of the most distinctive features of art-related writing. IAE prescribes not only that you open with a dependent clause, but that you follow it up with as many more as possible, embedding the action deep within the sentence, effecting an uncanny stillness. Better yet: both an uncanny stillness and a deadening balance.
Reading the ‘Animalia’ release may lead to a kind of metaphysical seasickness. It is hard to find a footing in this ‘space’ where Kim ‘contemplates’ and ‘reveals’ an odd ‘tension,’ but where in the end nothing ever seems to do anything.
Photo with 1 note
Joseph Park, “Untitled” (after Paul Outerbridge, “Table Place Setting,” 1937) (via)
Tyree Callahan, The Chromatic Typewriter [by Tyree Callahan] (via)
I do not stand at the threshold where the scene opens up, but at the point of exclusion, where the world stands complete without me.
My tendency is, if I see something interesting, to not take a picture of it, but to take a picture of something else and have that in it so that you can move your attention around, like this is a little world that you can examine.
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