Category Archives: Artists

W.A.G.E. ::: wo/manifesto

wo/manifesto

W.A.G.E. (WORKING ARTISTS AND THE GREATER ECONOMY) WORKS TO DRAW ATTENTION TO ECONOMIC INEQUALITIES THAT EXIST IN THE ARTS, AND TO RESOLVE THEM.

W.A.G.E. HAS BEEN FORMED BECAUSE WE, AS VISUAL + PERFORMANCE ARTISTS AND INDEPENDENT CURATORS, PROVIDE A WORK FORCE.

W.A.G.E. RECOGNIZES THE ORGANIZED IRRESPONSIBILITY OF THE ART MARKET AND ITS SUPPORTING INSTITUTIONS, AND DEMANDS AN END OF THE REFUSAL TO PAY FEES FOR THE WORK WE’RE ASKED TO PROVIDE: PREPARATION, INSTALLATION, PRESENTATION, CONSULTATION, EXHIBITION AND REPRODUCTION.

W.A.G.E. REFUTES THE POSITIONING OF THE ARTIST AS A SPECULATOR AND CALLS FOR THE REMUNERATION OF CULTURAL VALUE IN CAPITAL VALUE.

W.A.G.E. BELIEVES THAT THE PROMISE OF EXPOSURE IS A LIABILITY IN A SYSTEM THAT DENIES THE VALUE OF OUR LABOR.

AS AN UNPAID LABOR FORCE WITHIN A ROBUST ART MARKET FROM WHICH OTHERS PROFIT GREATLY, W.A.G.E. RECOGNIZES AN INHERENT EXPLOITATION AND DEMANDS COMPENSATION.

W.A.G.E. CALLS FOR AN ADDRESS OF THE ECONOMIC INEQUALITIES THAT ARE PREVALENT, AND PROACTIVELY PREVENTING THE ART WORKER’S ABILITY TO SURVIVE WITHIN THE GREATER ECONOMY.

W.A.G.E. ADVOCATES FOR DEVELOPING AN ENVIRONMENT OF MUTUAL RESPECT BETWEEN ARTIST AND INSTITUTION.

W.A.G.E. DEMANDS PAYMENT FOR MAKING THE WORLD MORE INTERESTING.

Founded in 2008, Working Artists and the Greater Economy (W.A.G.E.) is a New York-based activist organization focused on regulating the payment of artist fees by nonprofit art institutions and establishing a sustainable labor relation between artists and the institutions that contract their labor.

Chantal Akerman:

Chantal Ackerman died October 5, 2015. This post honors her.

 

Chantal Akerman: a primer | Sight & Sound | BFI

It’s a well-known fact, often rehearsed in interviews, that at the age of 15, Chantal Akerman saw Jean-Luc Godard’s Pierrot le fou (1965) and decided that her vocation was to be a filmmaker. Today, looking back over the career of this Belgian-born, mainly France-based director, we can happily conclude – and this cannot be said of everyone who makes such statements – that her own work has been worthy of the film that inspired her cinephilia. [read more]


At the age of 25, Ackerman made the film Jeanne Dielman,
23 quai du Commerce,
1080 Bruxelles (1975),
3 hours and 21 minutes,

Considered her “masterpiece,” it is a hugely innovative statement that made no concession to mainstream convention.

 


 

She also created many video installations.
Below: Chantal Ackerman, installation at the Venice Bienniale, 2015

More Links

Walid Raad

Unreliable Informants: A Walid Raad Primer [Hyperallergic]

A survey exhibition dedicated the work of Walid Raad, at the Museum of Modern Art, Oct 12, 2015-Jan 16 2016

Walid Raad was born in Lebanon in 1967, eight years before that country was rent by civil war. In a precursor to the ongoing bloodshed in Syria, Iraq, and Afghanistan, the conflict dragged on for fifteen years, claiming more than 100,000 lives and creating a million refugees.

… Raad has taken up the tradition of artist-as-trickster — a role carried into modern art though the Dadaist antics of Marcel Duchamp’s transgender alter-ego, Rrose Sélavy — while reaching even farther back to the artist-as-historian-cum-fabulist. Some works trip you up and others leave you out in the cold. [ read more ]

 

Trevor Paglen

 Can an Artist Take on the Government (and Win)? A Q&A With Trevor Paglen
  Artspace

The artist and “Citizenfour” collaborator’s new show at Chelsea’s Metro Pictures is both an homage to Edward Snowden and an example of what he calls “institutional improvement.”

Trevor Paglen has tracked secret spy satellites, photographed so-called “black sites” like Area 51, cataloged hundreds of classified codes for military operations and their associated (and often bizarre) patches, and blasted images into space for the benefit of future civilizations or a visiting alien species. … Paglen approaches art with a steadfastly interdisciplinary and collaborative mindset, combining his academic training with an eye for aesthetics and a healthy dose of post-9/11 paranoia. [read interview]

Nao Bustamante’s Soldaderas, Real and Imagined

New Project from one of my favorite artists Nao Bustamente – women, history, identity, revolution, subversion, re-enactement, and archival research!

Nao Bustamante’s “Soldadera” is a “speculative reenactment” of women’s participation in The Mexican Revolution. ­­
>> Article from KCET
>> Article in LA Times

Source: Nao Bustamante’s Soldaderas, Real and Imagined | Los Angeles | Artbound | KCET

LAURA POITRAS and HITO STEYERL [together]

A conversation between two brilliant minds,  LAURA POITRAS and  HITO STEYERL, in the pages of Art Forum May 2015
 A few excerpts:

LP: The limits of my imagination are much less interesting than what I encounter going into the field and filming. So yes, it obviously changed the narrative. But part of vérité filmmaking, and documenting in the present tense as things unfold, is going where the story leads. It’s uncertain and scary at times, but that is why there is drama.

HS: What kind of storytelling can adapt to the technological novelty and also to the vastness of the database as an archive?

….how does the editor work in the twenty-first century? Especially if, as in your case, the editor is also the person with the movie camera and the Soundbeam and the encrypted hard drive; she is a writer who designs a whole infrastructure of communication.

HS on Editing:
… And I think that editing, not only in filmmaking but in a lot of different activities, is a crucial activity. Postproduction is not working on content in retrospect but creating the content. Editing is where the meaning is created.

Godard said an edit could be an “and” or an “or.” That is how traditional film or video editing works. But now editing, with newer media and with physical reality becoming mediatized to a large extent, becomes a much more expanded activity, being able to channel and process information and to put together meaning in a much more expanded field.

Now instead of expanded cinema, it’s expanded editing, expanded postproduction, and circulation across different platforms and formats. I think it’s one of the crucial lenses through which to analyze contemporary activities.

LP: I think in the art world, duration is often seen as transgressive because it’s somehow forcing the audience to go beyond their comfort level, to subject them to an endurance test. And yet duration is absolutely accepted within mainstream cinema. So duration is perceived very differently in those two domains. Warhol, of course, was the supreme example of really pushing that in beautiful ways.

[read entire article]

“Hito Steyerl” is on view at Artists Space, New York, through May 24. “Laura Poitras” will be on view at the Whitney Museum of American Art, New York, Feb. 5–May 15, 2016.

Hito Steyerl, How Not to be Seen: A Fucking Didactic Educational .MOV File, 2013more links:
Hito Steryl in e-flux and more articles in Art ForumLaura Poitrais Praxis Films

Lyndsey Addario

It’s what I do – new memoir by Photojournalist Lynsey Addario

Article in New York Times Sunday Book Review

Excerpt in NY Times magazine: “What Can a Pregnant Photojournalist Cover? Everything.”

Article and video at TIME light Box

“I would never think of myself as a role model,” says Lynsey Addario. The 41-year-old, twice-kidnapped, mother-of-one, award-winning photojournalist has released, this month, her first book: an autobiography of her life as a Connecticut-born photographer who has spent the last 15 years witnessing the true human cost of war, particularly for women across the world. [read more of the TIME piece and watch video]

The hook for the TIME article is  “Meet the Photographer Who Found How to Balance a Life of Love and War ” –  Although this inspired from the tag line of her memoir (exact wording: “A Photographer’s Life of Love and War” – would the focus on ‘Balance’ ever been used to describe a male photojournalist? Lyndsey Addario has published many brilliant statements on the gender bias in war journalism. (see this post in The NY Times Lens Blog.) Many more entries about her on the Lens blog as well.

Another good interview can be found on the Word and Film website: One Woman’s Wars: A Q&A with Photojournalist Lynsey Addario.

Needless to say, I will be buying and reading the book.

 

Hank Willis Thomas on Black Male Identity

Re-blogging from photoandimaging.net

“What Is Common to All of Us?” Redefining Black Male Identity
by Hank Willis Thomas
Creative Time Reports.

Drawing from his collaborative transmedia project “Question Bridge: Black Males,” the artist Hank Willis Thomas examines the racial context of the 2012 killing of Jordan Davis as the man who shot the 17-year-old Florida resident, Michael Dunn, is retried for murder.

Screenshot from “Question Bridge: Black Males,” a collaborative transmedia project of Chris Johnson, Hank Willis Thomas, Bayeté Ross Smith and Kamal Sinclair.

Every person has a “day of infamy” in his or her life. For the parents of Jordan Davis, that day was November 23, 2012. For the parents of Trayvon Martin, it was February 26, 2012. For the parents of Michael Brown, it was August 9, 2014. For me, it was February 2, 2000—a Tuesday. That was the day I lost Songha Thomas Willis, my cousin, roommate, best friend and, for all intents and purposes, big brother. He was shot dead in front of dozens of people during a robbery in which he did not resist. [read more]

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{Proud to say that Hank was a alumnus of Photography & Imaging and a student in my senior projects class.}

Garry Winogrand

The first major Garry Winogrand retrospective since 1988 is on view at the Metropolitan Museum of Art until Sept. 21

Born in the Bronx, Winogrand did much of his best-known work in Manhattan during the 1950s and 1960s, and in both the content and dynamic style he became one of the principal voices of the eruptive postwar decades. Known primarily as a street photographer, Winogrand, who is often associated with famed contemporaries Diane Arbus and Lee Friedlander, photographed with dazzling energy and incessant appetite, exposing some 26,000 rolls of film in his short lifetime. He photographed business moguls, everyday women on the street, famous actors and athletes, hippies, politicians, soldiers, animals in zoos, rodeos, car culture, airports, and antiwar demonstrators and the construction workers who beat them bloody in view of the unmoved police. Daily life in America—rich with new possibilities and yet equally anxiety-ridden and threatening to spin out of control—seemed to unfold for him in a continuous stream.

READINGS