Tuwa, I never thought of it like that but hey sure that works.... :-)

As an artist deeply concerned with the status of the visual, Baltz was quick to register this shift. Leaving California for France, his work shiften from images of manmade landscapes to the manmade landscape of images. Projects such as The Politics of Bacteria (1996), Docile Bodies (1994) and Ronde de Nuit (1991-2) are mural-sized collages that bring together visuals from a range of sources (surveillance, television and cinema) along with images of medical procedures, bodies, wires and computer installations. Many readings may be possible of these complex configurations but the sense of menace and pessimism is inescapable. These are placeless, nomadic works that evoke the generalized conditions of the technocratic state in which capitalism, data and statistics threaten to triumph once and for all.

Wow, Zach, that is !For once, I'm speechless....

Oh, and I'm jealous: I haven't seen any Chris Marker films. Any in particular that you recommend?

Autor: • February 5, 2011 • Essay • 358 Words (2 Pages) • 476 Views

When artists address the archive they align themselves with that confidence and that doubt, with the archive’s order and its barely contained anxiety. Pop, Minimalism and Conceptualism, perhaps the three most influential strands of post-war art, all prized the archive or the archival grid as their ideal form. We see it in Warhol’s screen-prints, in the sculptures of Donald Judd and Carl Andre, the installations of Sol Lewitt and Hanne Darboven and the photo work of Christian Boltanksi and Bernd & Hilla Becher. The archival grid has been art’s quasi-bureaucratic way to mimic and estrange the modern regimes of the image.

For once, I'm speechless....Got to you already, did they?

All photographic images come from archives. The very idea of the archive shaped how photography developed from its invention in the 1830s. The standardisation of cameras and film formats, the standardisation of printed matter, the standardisation of the family album, the picture library, the computer image file, the press agency and even the modern art gallery – these are all archival forms of, and for, the photographic image. The hungry gathering and ordering of information proceeds according to rules but it is forever holding off a potential collapse into chaos, because there is always something wild and unpredictable about the behaviour of images (never mind the quantity of them). We feel the strain of that disaster more than ever as the world’s archives are themselves subject to digital re-archiving and redistribution via the internet.

This is one of the year’s best movies.
The basic principle of kino-eye is that it involves not only a disappearance of

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Vertov's brother was a noted cinematographer who worked much later for directors such as and in the United States. (He won an Oscar for his work on .) His other brother, , worked as Vertov's cinematographer until he became a documentarian in his own right. Mikhail Kaufman's directorial debut was the film made in 1929. In September 1929, Vertov married his long-time collaborator .

the border between the camera and the eye but a dissolution in the stages separating

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VB: A few years ago I came across a one-off photograph, a staged work in which an artist featured himself. I thought it was a poor idea, derivative and quite banal, but I was impressed by the technical quality. It was very beautifully shot. And then about six months ago I was introduced to a professional photographer who does various jobs including work with one or two artists. It emerged that he’d taken that shot. I was brought up thinking artists make things themselves. Is my reaction just dumb or is there something more at stake? I also think of another successful video artist, who uses professional people all the way down the line – lighting, special effects farmed out to people who work for the industry. One of my problems in both cases is that they as if they’re products of the industry. I might be able to accept that if the idea was, for want of a better word, transcendental. Nine times out of ten the ideas are not that great but the production values are terrific.

A collection of memories about Hugh Hefner and social media responses to his passing.

2,538 Essays on Music and Movies. Documents 1 - 30

The tiny, rough-edged discs were arranged meticulously on a sheet of glass from which a positive print was made. The digital/analogue blend is a consummate visual expression of the electro-acoustic music. Look closely and see that it could only have been made this way. This is still life as pure process, as profound as the best of the process-driven photography in art, but it’s less po-faced and lot more joyous.