Mary Steward's 'Creativity Lecture' kick-off for Art Week 2009

Mary Stewart, Artist in Residence, was chosen to kick off the much anticipated and exciting “Art Week” at St. Mary’s College. She delivered her Creativity Lecture in Cole Cinema on Monday evening October 26, 2009. It was well attended and she did not disappoint.

Full of energy and wit, Stewart managed to provide us with exercises to get past artist’s block and open our imaginations to engineering new projects. Exercises designed to stimulate trains of thought, recombination of thoughts and ways to access previously unassociated elements were not just fun but enlightening.

I was impressed with how quickly she could teach her word association trick she had designed to access subject matter. More than that, she addressed a major roadblock experienced by many artists: the inability to consolidate. Most artists are encouraged to focus on “expanding their minds”, but selection might be a greater challenge. I appreciated Steward’s advice to first open and then “contract”. She gave the analogy of a snake eating. It must first open wide to partake, then contract to force the morsel in the right direction, an ever expanding and contracting process.

Stewart shared not just her intelligent approach but her exuberant joy of the art experience. She provided concrete methods to enhance our ability to create while finding ways to make the process more painless. In essence, she made it simple.

Interrupted Lives: Human Migration in War and Peace

The Boyden Gallery presented the works of Keiko Ishii Eckhart and Amze Emmons during the Fall 2009 session of St. Mary’s College of Maryland. Both artists addressed the migration of common people. Both used similar mediums: graphite, acrylics and cut outs, although Eckhard used silkscreen, and very well at that. Eckhart sought to study migration patterns based on her personal family history. Her historic perspective was shared by many Japanese families during pre-war and WWII political policies. Emmons, however, used a variety of urban situations to demonstrate his belief that all spaces, and the division of these spaces, are political. The Boyden Gallery added another aspect to the human migration experience by including an interactive Google Earth installation, allowing show attendees the opportunity to map their own migration.

Eckhardt's studies were based on the effects of the war between the United States and Japan when working class immigrants were caught in the middle. The story she told incorporated many official documents, records, and personal journals into her pieces in order to confront her family’s migration nightmare. While her great grandfather opted to remain in America, ending up in a Japanese internment camp, the great grand uncle had returned to Japan in time to survive the bombing of Hiroshima. Both individuals were dramatically caught in the tangle of world events they were powerless to predict. Eckhard proficiently illustrated the influences these forces exerted on the futures of themselves and their following generations.

Emmon’s work dealt more current situations; homelessness, urban transportation, and urban plights. He used pencil and acrylics as if they were strong watercolors to present his migration issues. I’m not sure about his point of view concerning migration except that he felt it was about appropriation and re-appropriation of space, and most of my understanding of his point came from his lecture. Barriers were a big element in all of his pieces and he did manage to capture a ghostly emptiness of city dwelling. To me, however, much of his worked seemed sloppy and unrefined. He may have lost me as an audience as I was preoccupied by the unfinished quality his work. I do not think any single piece he offered could have stood alone and I believe it was the sheer number of pieces that carried his theme into the show.

It seems to me that Eckhard’s work would, and should, have been more political than the social issues presented by Emmons. This is simply because she is looking at a war between huge powers, while Emmons is addressing more common urban issues like transportation and homelessness, which in our experience is more economic or even weather driven. Eckhard’s work felt personal. She captured my attention and projected me into the work where I could feel the pain, fear, and frustration of world changes and migration insecurities I may never have addressed without her. I found Eckhard’s work more esthetically pleasing than Emmons. Her sense of color was more appealing to me. Her colors were more earthy yet delicate than the bold, primary colors used by Emmons. His presentation, possibly by design, was more primitive in many ways.

The Google Earth installation which was added to the show “for audience participation” was fun for anyone who had not ever tried it before. I think it could have been improved if the migrations of all the individuals who mapped their personal migration could have been accumulated with all the others. It might have been a good demonstration of how much Americans, or at least college students, move about. It could have been titled “Peace time movements of the St. Mary’s College population” and strengthened the shows intentions to present migration during war and peace.

BetaSpace: New Media Art

http://www.betaspace.org/

While looking for a new New Media Artist, I stumbled upon this ‘new’ website BetaSpace: New Media Art (2003). While looking around inside this ‘new’ site it dawned on me that it is a pretty nice piece of new media art itself. Eric Cheng, Liam Aleguire, Jay Kelly and Ethan Smith met at Cal State University Hayward and joined their collective talents together to create a venue for a New Media Art community and platform. Their mission statement:

“The BetaSpace project was originally conceived by four Graduate Students in California, with the goal of creating a platform for more artistic, personal expression on the Internet. Almost one year after its initial launch, the BetaSpace project has evolved into its current form- an organic, online new media art venue that will continue to evolve and grow based upon the response of its audience base.” (BetaSpace:New Media Art)

Although their initial concept has changed somewhat, their website is uncomplicated and enjoyable. Art selection is easy and the offerings are interesting.

I like the ‘evolution’ this site has gone through: the exercise of adaptability. BetaSpace is a great example of having to alter the form, format and even the intention as it discovers new problems or requirements through time and virtual space, activities of real artists, activities of life.

The original logo was very simple and relatively meaningless. It was updated to reflect the website creators' inspiration by the Dadaists in particular Marcel DuChamp. A modernized version of The Fountain (1917) serves to represent their artistic expression and message, that new media art is art.

The original concept for the site was to have a community which selected new art together but the originators have altered that approach. Public nominations are still accepted but now the website creators decide which will be posted.

Still an interactive community, they have a really cool approach to New Media discussions. BetaSpace has divided the forum into three forums; the ‘Community’, ‘Right Brain’ and ‘Left Brain’. The community “focuses on expanding our diverse community” (BetaSpace). It allows networking with other artists, discussions about art and critiquing of posted art. The Right Brain forum is about the exchange of ideas and feeling. They accept verbal and non-verbal commentary and provide an ‘anti-commercial’ section for artist protesting art for money. The Left Brain forum is for the discussion of technical aspects of New Media art. Divided into sections (like Dreamweaver MX) participants can post questions and/or offer assistance to each other.

This sorting approach to the complexity of New Media Art discussion really appeals to me. I have found New Media Art twice as challenging as the “old-fashioned” pen and ink approach. To produce any quality product one has to be able to envision, compose and then manipulate complicated, ginormous programs like Google Earth and Dreamweaver.

Although there are four creators, everything seems to be divided into three as exemplified by the three galleries: Rinalifervey, Ace, Etrismoonefiess. While the gallery names and/or the reason for gallery divisions eludes me, it is still quite easy to click around to see the online art and artist statements.

I like this site better than Rhizome (http://www.rhizome.org/ ) or Mark Tribe’s New Media https://wiki.brown.edu/confluence/display/MarkTribe/New+Media+Art) sites because of the streamlined approach and user friendliness. I hope Billy adds this website to his class resources for the next Intro to Digital class for two reasons: support the venue for New Media Art and provide more alternatives for students’ selections.

'Full Metal Jacket Elves by KoogerNewgin1

http://www.youtube.com/watch?v=ydF9rHC02Hg

The Full Metal Jacket Elves (FMJE) video is an 'inappropriate soundtrack' video art clip that dubs the original intact audio of Sgt. Hartman's boot camp motivational speech over an edited visual Rudolph the Red Nosed Reindeer elf workshop scene. Credited to KoogerNewgin1, it was initially posted in February 2007 but no other information for 'him' seems to be available. Now available on 352 websites, the well-done video circulates in e-mail attachments and Facebook uploads every Christmas season (YouTube.com).

I selected the FMJE clip after viewing the disappointing clips of some similar artwork from the Inappropriate Soundtracks show by John Michael Boling and Ceci Moss newly opened on Rhizome.com. These clips reminded me immediately of the FMJE clip which by comparison is a superior product. The anonymous video editor of FMJE did a truly excellent job of matching audio with video. His creation is a delightfully wicked, tongue-in-cheek version of what a sweat shop Santa's toy shop would at Christmas. It is hysterically fun and shockingly funny to watch although it not formally acknowledged as art.

Anonymous posting seems to belong to much of video art. The only reason I can think of for not taking credit for a marvelously entertaining piece like FMJE would be that some may find the product controversial or offensive. The materials are appropriated from copyrighted materials and law suits could ensue. Perhaps there is too much controversy surrounding combination of childhood movies with adult content. Perhaps the fun of making the clip has to be satisfaction enough for these artists. Perhaps the trouble and unlikelihood of getting permission for such questionable combinations makes anonymous posting an unfortunate requisite of new media art appropriation.

References:

Boling, John Michael and Cecil Moss. [Internet]Inappropriate Soundtracks. Available at

http://www.rhizome.org/

KoogerNewgin1. [Internet] Full Metal Jacket Elves. Available at http://www.youtube.com/watch?v=ydF9rHC02Hg

'Hypochondria'

Hypochondria 2006

http://monicaong.com/art/hypo.shtml

Malaysian New Media artist Monica Ong’s intention with her art is to “investigate social hierarchies and cultural silences in the context of public health” (Ong). Hypochondria 2006 is one of her investigations into the mental health of her uncle and the story of how it affects the care-giving close knit family.

Ong grabs the viewers attention with the ghostly photograph of her uncle mounted on a simple wooden box and hung quietly on a wall. The image is unworldly and engenders an uncomfortable curiosity. Without written instructions, Ong draws the viewer into voluntary interaction with the stethoscope hanging next to the photo. To hear the story the viewer must place the stethoscope into their ears and listen to the audio box as if they are the doctor experiencing the helplessness of the afflicted man and his family and the sadness of the healer’s inability to cure.

The chilling recording of her uncle’s hushed and frightened conversation with Ong’s father and her quiet voice with her overview of his story creates a grievous painful account of the drama within the family. Although initially I felt the recording was far too long and monotonous I think she uses the lengthy piece to illustrate the ongoing, never-ending anguish of mental illness.

Hypochondria is gallery-hung at Rhizome but is available online at her own website as well as Twitter and Facebook. She uses the social networks to present her social commentary, which I thought was interesting although you must friend Ong to view her works on Facebook.


Facebook.com http://www.facebook.com/monicaong

Ong, Monica. [Internet] About me. Available at
http://monicaong.com/about/index.shtml

Rhizome.com [Internet] Monica Ong Available at http://www.rhizome.org/profile.php?1025211

Twitter.com, [Internet] Monica Ong. Available at
http://twitter.com/mongmedia

'Five Elements' by Rashaad Newsome

http://www.rashaadnewsome.com/content.php

http://eyebeam.org/projects/five

Eyebeam resident Rashaad Newsome combines modern dance performances with computer technology that interpretes the performers’ maneuvers into line drawings. Newsome choreographed standard movements from different styles of vogue dancing to produce the ongoing collection named Five Elements. Each addition to the collection includes live dance performances, original music, video recording of each dance, video recorded computer drawing and the final “translated” hard-copy line drawings.

All three basic styles of vogue dancing lend themselves to capture by line drawing. Once you see Newsome’s work, dance-to-drawing seems the natural, obvious next step. Old Way Voguing from 1930-1980 “is characterized by formation of lines, symmetry, and precision in the execution of such formations and graceful, fluid-like action” . In 1990 the New Way Vogue dance style became popular. New Way is more geometric and mime-like, with rigid movement patterns used to demonstrate the the dancer’s entertainment skills and coordination. Finally, Vogue Fem is “the most extreme” version. It includes exaggerated feminine movements with ballet jumps, acrobatics and flips.(Wikipedia).

According to Eyebeam.org, Newsome is interested in “vogueing and its use of body language and gestures as a means of communication” (Eyebeam.org). Five Elements is based on the five elements of competitive vogue dancing; hands, spins, catwalk, duckwalk, and dips.

Newsome’s original choreography is based on studying two dancers he hired to perform the different styles of vogue. He created dances from this research and choreographed them to his original music which is loosely based on chamber music and possibly his weakest talent. Dancers practiced his routines before performing for a live audience. These performances were video recorded. At the same time the computer-generated drawing was produced onscreen by the computer interpreter .

'Five Elements' chronicles the evolution of this urban dance style. More than that, it may be chronicling the subtle changes in urban societies. I think his video recording could be of historical interest to urban anthropologists. The basic elements of vogueing have been evolving since the 1930’s and are considered the origin of several dance forms, including break dancing. Vogue routines have made it into the mainstream via dancers like Britney Spears and Janet Jackson. Vogue movements reflect changes in urban values, morays and disciplines. The line drawings could become a record of emotional currents that change with the each generation. Right now, Newsome’s productions are pleasing to the senses and interesting to both urban and rural people as a new take on performance art. His line drawings may be the next evolution in abstracts.

References:

Eyebeam.org. [Internet] Five. Available at

http://eyebeam.org/projects/five

Newsome, Rashaad, http://www.rashaadnewsome.com/

Wikipedia [Internet] Vogue dance. Available at

http://en.wikipedia.org/wiki/Vogue_(dance)

BUST DOWN THE DOOR AGAIN! WITH DRUMS AND STRINGS GATES OF HELL-VICTORIA VERSION Y0UNG-HAE CHANG HEAVY INDUSTRIES

Professor Young Hae Chang, Korean artist, and Marc Voge, American poet, joined their artistic skills together to produce powerful graphic animations. They employed the Flash animation tool to combine color, text and music videos under the name Young-Hae Chang Heavy Industries. They produced BUSTED DOWN THE DOORS! in 2000. In 2004 they revised the original text color from red to black, added the Korean translation of the existing English text and changed the soundtrack (Tribe and Jana). The re-release of the video as BUST DOWN THE DOOR AGAIN! GATES OF HELL WITH DRUMS AND STRINGS-VICTORIA VERSION was a smart move by the artist. With the possible effect stimulating interest by allowing comparison of the two versions, they may have intentionally or unintentionally increased interest in the rest of the company productions. It did for me. Unfortunately, the complete original video of BUSTED DOWN THE DOORS! does not seem to be available and I found only a few frames of the original version to compare the two.










2000 version











2004 version
Forced by the rhythm of the music and the synchronized, rapid pace of the changing screens of black and white text, the VICTORIA VERSION is so powerful it raised my heartbeat and my blood pressure with the effort to keep up with the intense story of a midnight invasion by unknown armed assailants. Beginning with a dramatic numeric countdown I already felt some sort of increased tension. The dramatic story line is presented in capital letter of cold, harsh font. It elicits the fear-sensation that should accompany this terrifying tale. Without the drumming rhythm reinforcing the threat, some of the intensity may not have been captured. The unknown-ness of who the attackers were in BUSTED DOWN THE DOOR! made me question how safe I feel in my country, triggering an uncomfortable insecurity that I may not know all of the possibilities . The addition of the Korean translation suggested that perhaps raiders do bust doors down at midnight in countries like Korea which added to the nightmare-feeling.

The Brown University review of BUST DOWN THE DOORS! (2000) added an insight into one of the reasons for the videos’ effectiveness, pointing out Young-Hae Heavy Industries used the first, second and third person pronouns to afford more than one narrative perspective (Brown University).

The VICTORIA VERSION maintained the same text as the original but added a THE GATES OF HELL photo from Young-Hae Chang Heavy Industries work installed in the Rodin Gallery, Samsung Museum of Art, Seoul, Korea. The installation GATES OF HELL display consisted of red text of nine Internet refrigerators depicting the artists’ “unusual way of presenting Net Art. Advertisers would have us believe that the Internet refrigerator puts the housewife at the cutting-edge of modern, hi-tech life. We titled our piece THE GATES OF HELL because, on the contrary, we feel that their refrigerator helps keep women in the kitchen.”. While their opinion is appreciated on its own merit, the addition of the GATES OF HELL photograph as intro to BUSTED DOWN THE DOOR!, it
creates more questions than answers. They may have GATES OF HELL photograph
intended to use one piece of art to promote another piece
of their work but unintentional created confusion that detracts from the BUSTED DOWN THE DOOR! story.


The online version of BUSTED DOWN THE DOORS AGAIN! WITH DRUMS AND STRINGS THE GATES OF HELL-VICTORIA VERSION I viewed online at Young-Hae Heavy Industries website does not include the GATES OF HELL photo. They may have decided to reduce any confusion or distraction this color image created. Envisioning the color intro page as opposed to the monochromatic “YOUNG-HAE HEAVY INDUSTRIES PRESENTS” on the current intro page, I think it’s more powerful the way is currently presented.


Tribe, Mark, Reena Jana, New Media Art – Introduction. Available at https://wiki.brown.edu/confluence/display/MarkTribe/New+Media+Art+-+Introduction

Brown University (Anon). [Internet] Young-Hae Chang Heavy Industries, Available at
https://wiki.brown.edu/confluence/display/MarkTribe/Young-Hae+Chang+Heavy+Industries

Young-Hae Chang Heavy Industries. BUSTED DOWN THE DOOR! WITH DRUMS AND STRINGS GATES OF HELL-VICTORIA VERSION. Available at http://www.yhchang.com/BUST_DOWN_THE_DOOR!_Rodin.html