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1. Displacements / Displacements 2005 Displacements is an immersive film installation. An archetypal Americana living room was installed in an exhibition space. Then two performers were filmed in the space using a 16mm motion picture camera on a slowly rotating turntable in the room’s center. After filming, the camera was replaced with a film loop projector and the entire contents of the room were spray-painted white. The reason was to make a projection screen the right shape for projecting everything back onto itself. The result was that everything appears strikingly 3D, except for the people, who of course weren’t spray-paint white, and consequently appeared very ghostlike and unreal. Displacements was produced three times between 1980 and 1984. By the third time, at the San Francisco Museum of Modern Art in 1984, it was done. Twenty-one years later, in 2005, my long-time friend and colleague Brenda Laurel cajoled me into a redux. The young couple in the original living room are now middle age with a teenage daughter. Mom is still pensive, Dad still watches TV, and the daugther is curious. Displacements 2005 was shot and projected in digital video rather than 16mm film, which, it turns out, was much more challenging. Displacements - Michael Naimark from today and tomorrow on Vimeo. See also: "Two Unusual Projection Spaces" Presence journal, Special Issue on Projection, MIT Press, 14.5, October 2005. "Spatial Correspondence in Motion Picture Display" SPIE Proceedings, vol. 462, Optics and Entertainment, Los Angeles, 1984 Exhibitions Naimark 1977-1997 Exhibition, Art Center College of Design, Pasadena, 2005 "Displacements," San Francisco Museum of Modern Art, San Francisco, 1984 "Movie Room," Center for Advanced Visual Studies, M.I.T., 1980 "Beyond Object," Aspen Art Museum, Aspen, 1980 Original Credits Concept and Production: Michael Naimark Special Advisors: Patty Graves and Bob Armstrong Performers: Madelyn Morton and JC Garrett Photography: Scott Fisher Supported by the MIT Council for the Arts, the NEA Media Arts Fellowships, the Society for the Encouragement of Contemporary Arts of the SF MOMA, and Austin Conckey. 2005 Credits Thanks to Stephen Nowlin, Julian Goldwhite, Peter Lunenfeld, Nikolaus Hafermaas, and Nate Young; Peter Di Sabatino, Brenda Laurel, and Katelyn McDougle; Matthew Biederman, Bernie Lubell, Matt McKissick, and Ludmil Trenkov; and Mark Bolas, Paul Debevec, and special thanks to Perry Hoberman via Dembot

2. 

   10 South Street, New York, NY (Map) 31 May – 10 August 2008 Open Friday, Saturday, Sunday: Noon – 6PM (Free) Opening Reception: 31 May, 6–8 PM [Download press release] Creative Time Presents Playing the Building: An Installation by David Byrne

   Playing the building is a sound installation in which the infrastructure, the physical plant of the building, is converted into a giant musical instrument. Devices are attached to the building structure — to the metal beams and pillars, the heating pipes, the water pipes — and are used to make these things produce sound. The activations are of three types: wind, vibration, striking. The devices do not produce sound themselves, but they cause the building elements to vibrate, resonate and oscillate so that the building itself becomes a very large musical instrument.

   via David Byrne

   hat tip Quipsologies

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1. With dimmed lights, lace, and masks, the Poetry Brothel is anything but a conventional poetry reading, and maybe that's why it seducing so many New Yorkers. NY1's Stephanie Simon filed the following report on a new kind of poetry party that is downright risqué. via NY1
2. "The British-based Poetry Archive has released statistics that visitors to its website are now viewing a total of more than one million pages a month. More than 125,000 individuals - or 'unique visitors' in web jargon - have visited the site, which hosts poems and audio readings by the poets themselves." via The Telegraph (UK)
3. $100,000 lifetime achievement award is one of largest to poets Published on Apr 30, 2008 - 9:09:15 AM By: Poetry Foundation

   The selection of Gary Snyder as this year's winner of the Lilly Prize does honor to the tradition of excellence and importance that the prize has stood for since it was established over 20 years ago," said John Barr, president of the Poetry Foundation.

   CHICAGO, April 29, 2008 -- Poet Gary Snyder is the winner of the 2008 Ruth Lilly Poetry Prize. Established in 1986 and presented annually by the Poetry Foundation, the award is one of the most prestigious given to American poets, and at $100,000 it is one of the nation's largest literary awards. Christian Wiman, editor of Poetry magazine and chair of the selection committee, made the announcement today. The prize will be presented at an evening ceremony at the Arts Club of Chicago on Thursday, May 29. In announcing the award, Wiman said: "Gary Snyder is in essence a contemporary devotional poet, though he is not devoted to any one god or way of being so much as to Being itself. His poetry is a testament to the sacredness of the natural world and our relation to it, and a prophecy of what we stand to lose if we forget that relation." Raised in the Pacific Northwest, Snyder began writing in the 1950s as a member,with Allen Ginsberg and Jack Kerouac, of the Beat movement. For most of the 1960s he lived in Japan and studied formally in a Zen monastery. Blending physical reality-precise observations of nature-with insight received primarily through the practice of Zen Buddhism, Snyder has explored a wide range of social and spiritual matters in both poetry and prose. The judges issued the following statement in making the selection: "Gary Snyder is a true nature poet: there's no sentimentalism to his work, and he never uses the natural world simply to celebrate his own sensibility. A deeply learned and meditative artist, an impassioned ecologist, and a poet of great scope as well as intense focus, Snyder has written poems that we will be reading for as long as we've been reading Robert Frost." Snyder is the author of more than a dozen books of poetry, essays, and translations. His poetry collections include Riprap and Cold Mountain Poems, The Back Country, Regarding Wave, No Nature, Mountains and Rivers Without End, and Danger on Peaks. His essays are collected in Earth House Hold, The Real Work, A Place in Space, and Back on the Fire. A committed environmental activist who has received the John Hay Award for Nature Writing, Snyder has also been recognized for his contributions to the theory and practice of Buddhism. His many honors include the Pulitzer Prize in 1975 for Turtle Island, an American Academy of Arts and Letters award, the Bollingen Prize, a Guggenheim Foundation fellowship, the Bess Hokin Prize and the Levinson Prize from Poetry, the Robert Kirsch Lifetime Achievement Award from the Los Angeles Times, and the Shelley Memorial Award. Snyder was born on May 8, 1930, in San Francisco. He is professor emeritus of English at the University of California, Davis, and lives in northern California.

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Displacements is an immersive film installation. An archetypal Americana living room was installed in an exhibition space. Then two performers were filmed in the space using a 16mm motion picture camera on a slowly rotating turntable in the room’s center. After filming, the camera was replaced with a film loop projector and the entire contents of the room were spray-painted white. The reason was to make a projection screen the right shape for projecting everything back onto itself. The result was that everything appears strikingly 3D, except for the people, who of course weren’t spray-paint white, and consequently appeared very ghostlike and unreal.

Displacements was produced three times between 1980 and 1984. By the third time, at the San Francisco Museum of Modern Art in 1984, it was done.

Twenty-one years later, in 2005, my long-time friend and colleague Brenda Laurel cajoled me into a redux. The young couple in the original living room are now middle age with a teenage daughter. Mom is still pensive, Dad still watches TV, and the daugther is curious. Displacements 2005 was shot and projected in digital video rather than 16mm film, which, it turns out, was much more challenging.

Displacements – Michael Naimark from today and tomorrow on Vimeo.

See also:

“Two Unusual Projection Spaces”
Presence journal, Special Issue on Projection, MIT Press, 14.5, October 2005.

“Spatial Correspondence in Motion Picture Display”
SPIE Proceedings, vol. 462, Optics and Entertainment, Los Angeles, 1984

Exhibitions

Naimark 1977-1997 Exhibition, Art Center College of Design, Pasadena, 2005

“Displacements,” San Francisco Museum of Modern Art, San Francisco, 1984

“Movie Room,” Center for Advanced Visual Studies, M.I.T., 1980

“Beyond Object,” Aspen Art Museum, Aspen, 1980

Original Credits

Concept and Production: Michael Naimark
Special Advisors: Patty Graves and Bob Armstrong
Performers: Madelyn Morton and JC Garrett
Photography: Scott Fisher

Supported by the MIT Council for the Arts, the NEA Media Arts Fellowships, the Society for the Encouragement of Contemporary Arts of the SF MOMA, and Austin Conckey.

2005 Credits

Thanks to Stephen Nowlin, Julian Goldwhite, Peter Lunenfeld, Nikolaus Hafermaas, and Nate Young; Peter Di Sabatino, Brenda Laurel, and Katelyn McDougle; Matthew Biederman, Bernie Lubell, Matt McKissick, and Ludmil Trenkov; and Mark Bolas, Paul Debevec, and special thanks to Perry Hoberman

via Dembot

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1. 

    

   MoMa (Museum of Modern Art), New York, 2007. Olympus Trip 35, Fuji Superia 400. via CVerwaal's Flickr
2. Thought someone here might be interested. Enjoy.
3. AUSTIN, TX. (via artdaily) - The Austin Museum of Art (AMOA) presents Modern Art. Modern Lives. Then + Now. This two-part exhibition, organized by the Austin Museum of Art, draws from AMOA’s permanent collection and local collections to explore how modern and contemporary artists merge art and life. It focuses on two distinct periods and areas: the start of modern art in the late 19th and early 20th century in Europe, and the late 20th and early 21st century from diverse cultures and art centers around the world. “Modern Art. Modern Lives. Then+Now, comprised of rarely seen work drawn exclusively from local private collections and our own permanent collection, is one of the Museum’s most ambitious and broad-reaching exhibitions,” said Dana Friis-Hansen, AMOA Executive Director. “Never before have Austinites had the chance to see works by modern masters pushing at the boundaries of art in conjunction with the contemporary artists who are confronting the tough issues of our times.” THEN: 19th and 20th Century Artists at the Turn of the Century, Curated by: Jim Housefield, Adjunct Curator. Modern art was born in the 19th century out of a newly insistent sense that art and life must merge. This exhibition of works from local collections features artists whose lives changed the course of art as they examined the stories behind their artworks to reveal the social connections that guided Modernism’s course. In the arts, “being modern,” meant pushing against the constraints of the present to envision new possibilities, especially new ways of shaping and depicting contemporary society. These new aesthetic and social forms emerge in the exhibition’s four sections Places and Spaces, Utopian Dreamers, Portraiture and Modern Temperament, and Follies and Diversions. Places and Spaces shows the work of artists who dug into the “here and now” of the changing landscapes of modern life, and of others who fled the modern city to make their own places in nature, especially those Utopian Dreamers of artists’ colonies or distant lands. Portraiture and the Modern Temperament reveals the ordinary people who increasingly became the subjects of art: friends, family, hired models, even street performers, whose bodies became vehicles for new aesthetic expression. Experimenting with old techniques like painting and drawing or new printmaking technologies, the artists immortalized their own social circles. Artists gave new value to the fleeting experiences of modern life, even the Follies and Diversions of popular entertainments that poked fun at the foibles of modern men and women. Famous works by Pierre Bonnard, Paul Cézanne, Paul Gauguin, Édouard Manet, Henri Matisse, Pablo Picasso, Henri de Toulouse-Lautrec, and Van Gogh are included in this collection. Many of these works by modern masters are being shown in Austin for the first time. NOW: Where Are We Going? Contemporary Artists Address Issues of the 21st Century Curated by: Dana Friis-Hansen, Executive Director and AMOA Chief Curator. The contemporary section of Modern Art. Modern Lives. Then + Now presents an open-ended exploration of how fifty artists—both world-famous and lesser known, living and working in Austin, throughout the United States, and around the world—engage with key personal, social, and political issues of our time. This rich selection of artworks embraces a dazzling variety of media, styles, and expressive languages. Offering many viewpoints and provoking viewers to consider the complex world we live in at the start of the 21st century, these modern works are grouped into four sections: Where Are We Going? features both late 19th century and contemporary explorations of the search for meaning in modern times. Artists sought the authenticity and richness of outlying regions of France such as Pont Aven, or exotic locales such as Tahiti to insprire their art (Paul Gauguin, Émile Berard, Paul Serusier). In our own era, artists’ rendering of their quests have sometimes been allegorical (Beth Cambell, Jonathan Marshall, Lee N. Smith), meditative (TreArenz, Andrea Way) or through references to our place within epic or mysterious natural realms (Vija Celmins, Isaac Julian, Owen McCauley). Paradise: Lost and Found focuses on landscape and the ways we find our place within it. Whether distilled to the colors of a single tree or phases of culture through the four seasons (Anne Appleby, Peat Duggins), or manipulated for our recreation or resources (Ed Burntsky, Rackstraw Downes, Skeet McAuley) artists treat nature very differently in the 21st century–as another artist shows–(Chris Jordan) going forward we must take great care about how we manage our waste. Who Are We? assembles portraits and figurative representations that address the politics of culture, race, class, and gender in a globalizing world. With pride, anger, innovation, or sharp wit, these artists reject western white male dominance to propose hybrid identities, reminding us that from now on we will all live in a richer and more diverse world. (Terry Allen, Iona Rozeal Brown, Nancy Burson, Margarita Cabrera, Michael Ray Charles, Jenny Holzer, Lance Letscher, Young Min Kang, Ed and Nancy Kienholz, Barbara Kruger, David Magee, Ana Mendieta, Wangechi Mutu, Luis Gonzalez Palma, Fahamu Pecou, Adrian Piper, Andy Warhol, Marie Watt, Kihende Wiley, Carrie Mae Weems, Miwa Yanagi, and John Yancy). Before and After Battle reveals how the preparations for and recovery from conflict forever impact our lives in ways visible and invisible, subtle and profound. Here we find pre- and post- conflict portraits of everyday people (Paul Shambroom, Sigmar Polke), war victims (Binh Dan), and survivors (Suzanne Opton); weapons turning into ploughshares (Hayden Larsen); allegories of battle and torture (Seth Alverson, Tom Molloy, Julie Merhetu, Sarah Pickering); potentially inflammatory emblems of patriotism (Vito Acconci, Shimon Attie, John Salvo); and evidence of how readily we accept tragedy into our lives (Julie Speed). Re-blog via ArtDaily.org

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Don’t remain immobile
At the edge of the road
Don’t freeze the joy
Don’t love with reluctance
Don’t save yourself now
or ever
Don’t save yourself
Don’t fill with calm
Don’t reserve in the world
Only a secure place
Don’t let your eyelids fall
Heavily as judgments
Don’t speak without lips
Don’t sleep without sleepiness
Don’t imagine yourself without blood
Don’t judge yourself without time.
But if
in spite of everything
You can’t help it,
And you freeze the joy,
And you love with reluctance,
And you save yourself now,
And you fill with calm
And you reserve in the world
Only a calm place,
And you let fall your eyelids
Heavily as judgments,
And you speak without lips,
And you sleep without sleepiness,
And you imagine yourself without blood,
And you judge yourself without time,
And you remain immobile
At the edge of the road,
And you save yourself,
Then…
Don’t stay with me.

hat tip Human Apparatus | Space Collective

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