Friday, January 30, 2009
Wednesday, January 28, 2009
Sunday, January 25, 2009
Thursday, January 22, 2009
Wednesday, January 21, 2009
Monday, January 19, 2009
Saturday, January 10, 2009
AMERICAN CYANAMID
Accession Number: 1977:0100:0039
Maker: Nickolas Muray (American 1892-1965)
Title: AMERICAN CYANAMID
Date: 1945
Medium: "color print, assembly (Carbro) process"
Dimensions: Dimensions Unknown
George Eastman House Collection
General – information about the George Eastman House Photography Collection is available at http://www.eastmanhouse.org/inc/collections/photography.php.
For information on obtaining reproductions go to: http://www.eastmanhouse.org/flickr/index.php.
Uploaded by George Eastman House on 20 Dec 08, 1.41PM PST.
Thursday, January 08, 2009
Marina Abramovic and Ulay : Imponderabilia (1977)
At the opening of an exhibition in June 1977 at the Museum of the Galleria d’Arte Moderna Bologna, Abramovic/Ulay stood naked at the entrance opposite each other in such a way that the people streaming in had to squeeze singly through the gap between the two, unable to avoid physical contact. The crucial factor was that everybody had to decide whom to look at as they passed. The video focuses on both the complete view and the half-length portrait in order to capture the different reactions of the audience. Most people were looking straight ahead to avoid a direct gaze, squeezed through with a lot of physical contact or tried bumping into the bare skin of the two as little as possible. Some also held on to the artists’ shoulders. Abramovic/Ulay kept looking at each other motionless like statues flanking an entrance. In this Performance, they are forming a physical frame, confronting the involuntary participants passing through the "birth canal" with the experience of touch, the decision which side to face, and exposing them all to an unfamiliar bodily sensation between shame and an awareness of their own bodies, and to close physical contact with another human being which is generally considered disturbing between strangers. The gap between the two protagonists constitutes the actual Performance space in which the viewer plays an active part. It is fitting that this action is placed in a museum where people go as spectators, learning at the very entrance that they are involved themselves. A text on the exhibition wall stated: "Imponderable. Such imponderable human factors as one’s aesthetic sensitivity/the overriding importance of imponderables in determining human conduct." The text refers directly to the viewer as a protagonist of the Performance who – as is so often the case with Abramovic/Ulay – is denied the opportunity of direct observation. - Lilian Haberer.
Text source :
www.newmedia-art.org/cgi-bin/show-oeu.asp?ID=ML002604&...
Lors de l'ouverture de l'exposition de juin 1997 à la Galleria d'Arte Moderna de Bologne, Abramovic/Ulay se tiennent nus face à face à l'entrée, de sorte que les visiteurs, qui doivent se faufiler entre eux deux pour entrer, ne peuvent éviter de les toucher. Le fait que chaque personne doive décider qui elle va regarder en passant est important. La vidéo fixait plusieurs plans, l'ensemble et une vue de demi-profil, de manière à pouvoir observer les diverses réactions du public. La plupart détournaient la tête, afin d'éviter le regard direct, les uns se pressaient en recherchant les contacts corporels, les autres essayaient de se heurter le moins possible à la peau nue des deux artistes. D'autres encore s'appuyaient aux épaules des artistes. Abramovic/Ulay se regardaient sans sourciller, telles des statues postées à l'entrée. Ils forment ainsi un cadre corporel et confrontent les participants involontaires, pendant que ceux-ci passent par le "canal de naissance", face à l'expérience du toucher, de la décision à prendre vers quel côté se tourner, et ressentent un sentiment corporel inhabituel, entre gêne et prise de conscience de son propre corps et du contact humain avec des inconnus souvent perçu comme quelque chose de dérangeant. L'espace vide entre les deux acteurs représente le lieu de performance proprement dit, dans lequel l'observateur devient lui-même acteur. La représentation de cette action convient parfaitement dans un musée où les gens se rendent pour devenir observateurs et s'aperçoivent dès l'entrée qu'ils sont associés à l'action. Au mur de l'exposition on pouvait lire ce texte: "Imponderable. Such imponderable human factors as one's aesthetic sensivity / the over-riding importance of imponderables in determining human conduct." Il s'adresse directement à l'observateur en sa qualité de protagoniste de la performance et pour qui la possibilité d'observation directe est souvent déguisée - comme si souvent chez Abramovic/Ulay. - Lilian Haberer.
Text source :
www.newmedia-art.org/cgi-bin/show-oeu.asp?ID=ML002604&...
More info :
www.medienkunstnetz.de/works/imponderabilia/
Uploaded by Marc Wathieu on 7 Jan 09, 8.47PM PST
Tuesday, January 06, 2009
Untitled
Accession Number: 1974:0056:0761
Maker: William M. Vander Weyde (American 1871–1929)
Title: Untitled
Date: ca. 1900
Medium: negative, gelatin on glass
Dimensions: 8.5 x 6.5
George Eastman House Collection
General – information about the George Eastman House Photography Collection is available at http://www.eastmanhouse.org/inc/collections/photography.php.
For information on obtaining reproductions go to: http://www.eastmanhouse.org/flickr/index.php.
Uploaded by George Eastman House on 19 Sep 08, 1.13PM PST.
Monday, January 05, 2009
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