enjoy this.

http://jtylerhelms.com/films/bodycage.html

REAL Video: Rinse Cycle

The other is the unedited version which I intelligently named the same as the final.
Beware, the other has nudity.

Performance:

girlfriend nagged about the exposure thing....sorry, but i removed it

My Trenton Doyle Responce Film

Damn it lost all contrast in translation to this smaller file.
Well, Imagine a more defined world as you look on.

What those Dancers Dance

Martha Graham
Martha Graham was an American dancer and choreographer regarded as one of the foremost pioneers of modern dance, and is widely considered one of the greatest artists of the twentieth century. Graham invented a new language of movement, and used it to reveal the passion, the rage and the ecstasy common to human experience. She danced and choreographed for over seventy years, and during that time was the first dancer ever to performance at the White House, the first dancer ever to travel abroad as a cultural ambassador, and the first dancer ever to receive the highest civilian award, the Medal of Freedom. In her lifetime she received honors ranging from the key to the City of Paris to Japan's Imperial Order of the Precious Crown. She said "I have spent all my life with dance and being a dancer. It's permitting life to use you in a very intense way. Sometimes it is not pleasant. Sometimes it is fearful. But nevertheless it is inevitable."

I spent some time roaming through her performances and I have acclaim her for her originality. I am absolutely moved by the fluidity she organizes the dances through ,but the method in which "gravity" is acknowledged and accepted in deep heavy thrusts is where i see the aspects of dance that have pervaded my sight for so long. These gasping bursts expand dance as an art form from the purely aesthetic to the truly human evocation of emotion.

Twayla Tharp
Tharp was born in Portland, Indiana in 1941 and was named for Twila Thornburg, the "Pig Princess" of the 89th Annual Muncie Fair in Indiana. Tharp's family moved to Rialto, California in 1951, where her parents opened a drive-in movie theater. During this period she studied at the Vera Lynn School of Dance and attended Pacific High School in San Bernardino. Tharp attended Pomona College in California, but transferred to Barnard College in New York City. It was in New York that she began dancing with Martha Graham and Merce Cunningham. She graduated from Barnard with a degree in art history in 1963 and joined the Paul Taylor Dance Company. Two years later she formed her own company, called Twyla Tharp Dance.
At its 1982 commencement ceremonies, Tharp's alma mater awarded her its highest honor, the Barnard Medal of Distinction

I believe Tharp's work to be excitingly beautiful, though I find it rather bland when it comes to incorporating new ideas into dance. The rhythmic gestures and urgently playful steps could be pushed so much further than to just show off exemplary dancers. For instance, she might have her performances embrace its ambiguous rush and incorporate the frustration and anxiety that such movement entails. I felt nothing for her work.

Mark Morris
Mark Morris is an American modern dancer, choreographer and director whose work is acclaimed for its craftsmanship, ingenuity, humor, and at times eclectic musical accompaniments. Morris is popular among dance aficionados as well as mainstream audiences.
His father taught him how to read music and his mother Maxine introduced him to Balkan folk dance, and ballet.
Morris subsequently moved to New York, where he established his own company, the Mark Morris Dance Group, which debuted in 1980.
Though now largely retired from performing, Mark Morris was long noted for the musicality and power of his dancing as well as his amazing delicacy of movement. His body was heavier than the typical dancer, more like that of an average person, yet his technical and expressive abilities outstripped those of most of his contemporaries.

Alex Bag

Bag's pieces are a statement in them. The introspective qualities of her films create a reflective device in which the absurdity makes you uncomfortable. Combined with her ability to film is her amazing ability to hide on the Internet. Where the hell is her information?

Vito Acconci

Vito grew to despise his Italian heritage. He thought that Italians couldn't create good art. He abandoned poetry, for it had too many restrictions. He felt that the parameters were too constrained and rule-bound. He felt that performance art was free of boundaries, and could accept all expression in their raw forms. His performance art would eventually shock and absorb its audience all at the same time. His monotone vocal aspects would later reveal that he was totally against any emotion in his particular art form. He felt that emotion was too general a feeling to express in art.

Vito’s privatism would envelop his art. I found his boundariless art forms to the degree of self-mutilation very intriguing. I was dismayed to learn he no longer preformed art, but was interested in his new interactive form in which he created art that the public could be apart of.

Paul Pfeiffer

Paul Pfeiffer was born in Honolulu, Hawaii in 1966, but spent most of his childhood in the Philippines. Pfeiffer lived in New York in 1990, where he attended Hunter College and the Whitney Independent Study Program. Pfeiffer’s groundbreaking work in video, sculpture, and photography uses recent computer technologies to dissect the role that mass media plays in shaping consciousness. In a series of video works focused on professional sports events Pfeiffer digitally removes the bodies of the players from the games, shifting the viewer’s focus to the spectators, sports equipment, or trophies won. Presented on small LCD screens and often looped, these intimate and idealized video works are meditations on faith, desire, and a contemporary culture obsessed with celebrity. Many of Pfeiffer’s works invite viewers to exercise their imaginations or project their own fears and obsessions onto the art object. Several of Pfeiffer’s sculptures include eerie, computer-generated recreations of props from Hollywood thrillers, such as “Poltergeist,” and miniature dioramas of sets from films that include “The Exorcist” and “The Amityville Horror.”

His distortion of life and focus is an incredible idea. The idea of solely watching the passer-by or the crowd of watching patrons is incredibly intriguing. How does this manipulation create a new focus to which we are made interested in the sideshow? I think his idea is groundbreaking. What if i pushed the idea of the focal point away from the obvious one with the same precision as Paul and was able to trick the viewer into missing the revealing theme of the piece? Ah-hah!

snoop v. pink robots

http://hypem.com/track/167014

go for fun and pleasure.

flippin'

[edit]


Rist studied at the Institute of Applied Arts in Vienna, through 1986. She later studied video at the School of Design in Basel, Switzerland. In 1997 her work has been featured in the Venice Biennial for the first time, where she was prized with the Premio 2000. 1988 through 1994 she was member of the music band and performance group Les Reines Prochaines. In 2002 she was invited by Professor Paul McCarthy to teach at UCLA. Pipilotti Rist currently lives with her common law partner Balz Roth, with whom she has a son, Himalaya.
During her studies Pipilotti Rist started to make super 8 films. Her works last generally only a couple of minutes, and altered in their colors, speed, and sound. Her works generally treat issues related to gender, sexuality, and the human body.

Rist, contrasts many other conceptual artists who work in the field of film, her color-rich and musically saturated works transmit a sense of happiness and simplicity. She was initially bumped in with the feminist genre, but has transcended the field on several occasions. I feel aroused sensually and playfully as I watch her videos. She seems to delicately and repeatedly massages my mind with this character of gentleness and vulnerability. Absurdity, in her context, is played and weaved in to a surreal dreamlike aura, which certainly contrasts confusion.

Bill Viola. Are you watching?

Bill Viola is considered a pioneer of video art and is internationally established as one of today’s leading artists. He has been instrumental in the establishment of video as a vital form of contemporary art, and in so doing has helped to greatly expand its scope in terms of technology, content, and historical reach. For over 35 years he has created videotapes, architectural video installations, sound environments, electronic music performances, flat panel video pieces, and works for television broadcast. His single channel videotapes have been widely broadcast and presented cinematically. Viola uses video to explore the phenomena of sense perception as an avenue to self-knowledge. His works focus on universal human experiences—birth, death, the unfolding of consciousness—and have roots in both Eastern and Western art as well as pious traditions. Using the inner language of subjective thoughts and collective memories, his videos communicate to a wide audience, allowing viewers to experience the work directly, and in their own personal way.

Viola has built an evident regime of influence in video, as would be expected from a pioneer of the art form. His pieces build to become total environments that envelop the viewer in image and sound. They employ state-of-the-art technologies and are notable by their precision and simplicity. For me, simplicity is king. I appreciate his works mostly because of his utilization of elemental ideas which reflect grand and holy ideas as a god might be assumed to be translated as. The movement and flow he utilizes to transfix his viewers transcends their knowledge of just how involved they are. Souls are entangled.

Mathew Barney ...preview

Matthew Barney was a San Francisco child born in 1967 and raised in Boise. He attended Yale where he received his BA in 1989, then moved to New York City, which is his permanent residence to this day. From his earliest work, Barney has explored the transcendence of physical limitations in a multimedia art practice that includes feature-length films, video installations, sculpture, photography, and drawing. In his first solo exhibitions, Barney presented elaborate sculptural installations that included videos of himself interacting with various constructed objects and performing physical feats such as climbing across the gallery ceiling suspended from titanium ice screws. In 1992, Barney introduced fantastical creatures into his work, a gesture that presaged the vocabulary of his subsequent narrative films. In 1994, Barney began work on his epic Cremaster cycle, a five-part film project accompanied by related sculptures, photographs, and drawings. He completed the cycle in 2002. Matthew Barney: The Cremaster Cycle, an exhibition organized by the Guggenheim Museum of artwork from the entire project, premiered at the Museum Ludwig, Cologne, in June 2002 and subsequently traveled to the Musée d’Art Moderne de la Ville de Paris in October 2002 before its presentation in New York.

His bold and outrageous characteristics transcend what most would consider shock art, for me at least. His modeling past is incredibly evident as he controls the lens to bring the absurdity of life’s experience straight to your consciousness. Emotion must be what he hopes to evoke, but as I follow the plots of his shorts I find myself consumed by intrigue and the mask of the critiquing who cannot watch without bias.

Oh my freak!

I'm about postal at this point.
This flash project seems to want nothing more than division.
Ugh.

what YOU want to hear.

Inspiration Digging

The three sites listed below and the following review were suggested by my instructor and will certainly aid me in sculpting my first Flash endeavor.

http://www.theircircularlife.it/frameset

“Their Circular Life” seems a vague and condescending title for a body of work and at first it deterred me from engaging this site. However, when I became eventually drawn by curiosity to the photographic genius of the artist’s truly circulatory art, I realized that he named it truly and with no pretense. This site demands interaction between the viewer and the environments provided which does much more for me then simply pressing an arrow directed right. Also, I find the sound to be well synced with the surroundings and would be interested to know how he recorded the sound and was able to make it associate with a single moment in his fluidly circular environments.

http://www.thehalcyonhours.com/

The idea behind this one was typical, but she made it her own by describing the feeling of the moments depicted. Her imaginative “cigarette” which concluded her day seemed to pull the piece together as a whole. I found that the lack of identity for the blonde woman did not detract from the personal characteristic of the action photographs. I appreciated the musical aspect as well.

http://www.itwillneverbethesame.com/

I am exceptionally frustrated with this piece. It’s name prophesizes a magnificent revelation and, yet, when you interact with it by clicking on the screen (which seems only logical seeing how their isn’t anything else to do) you proceed endlessly towards the horizon. There seems to be no end- and yet I hold my finger unmoving in desperate hope that I might be close to the answer. How wonderfully absurd.

Muybridge experiement with flash

Oh what Knots we tangle: on our sides?

why has my art insisted on being sideways in this post?

Playful Time

Watch this seasonally active sun oscillate on the cusp of the horizon.

My cheesy typing will wear off as time passes- please try to endure until then.

Addition of flare: My Blog is naked.

Come on Down to the corner store with me. Let us buy a cola and disperse the glare of the bustling, very-alive world.
Can you- Could you imagine the childish bliss and utter joy that would swell in your throat if the prospect of Woodstock's legends returning?

I find myself bored.

Time, the foe.

How horrid is it that we can never reattain a moment. I ponder often how blissful it would be to fall into the lap of the sixties.
My opinion of time fluctuates.
I enjoy her ability to build and admire her capability to extinguish life, but more often than not she is the topic of hasty complaints and resenting remarks.
I believe time to be more complicated than the clock that clicks for every second of every day that the double-A's survive.

It has a circulatory pattern (much like that of the clock on the wall) and is a painfully relentless host.
Our hopes fade
Our memories are forgotten
Our dreams are lost

I don't mean to be so pessimistic. The truth is- time is a beautiful sculptor who becomes weary of things that linger...giving us several great eras that we can imagine to be glorious without living in them- she may be productive after all.

A Start

Now the unnecessary ordeal of creating this blog is over. The placenta is all cleaned up.