recontextualizing

Everyday Loneliness - Recontextualizations [Arbor; 2012]

Wondrous label Arbor has been in hibernation. Only now is it beginning to shake off the layers of fur and snow after a sustained silence. Sleeping Beauty has been awakened by the gentle caress of Jon Borges’ Everyday Loneliness. An elegant two-sider, Recontextualizations is the calm alarm hailing Arbor’s return, Borges exploring the many varieties of waking up. Side A begins with the harsh Winter winds dissipating into a Spring sprinkle before the echoing roar of the Summer ripples through the sleepy valley. The B-side is hot, hazy with the incessant sun thawing the shadows as Borges’ world blossoms in full. How we have missed Arbor and Everyday Loneliness, once again ready to meet the world at her most fertile.

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“Mica Moca is a gigantic three building complex, the remnants of an old treasure vault factory. It is open and ripe with possibility. In the main room, personal objects are set up around the room. They are offerings for the public. Each collection has a cell phone number and a sort of aural menu attached to it. The public is being asked to pick up their phones for a free, private concert with the singer of their choice. The singers are housed in various rooms throughout the complex, unseen by their audience. It is an intimate concert for two.”

"Recontextualizing the Found Object" Exhibition

I have just received some images from the exhibition called “Recontextualizing the Found Object” at the Martha Gault Art Gallery, Slippery Rock University in PA.
It is so wonderful to see the installation images with other artists’ work. I was pleased to have been a part of the show. Sean Macmillan who was the Juror and the director of the exhibition, wrote “The show was a profound success. We have received great feedback and had a tremendously high turnout.” Also he will be able to compile the catalog of the show. That is awesome news! I will be looking forward to having the catalog with all the great pieces.

Here are some overview pictures of the installation space.



If you look closely, you can see my art work in the center of the image below. It is inside the vitrine next to the brownish piece.


It’s so small. Here is the bigger version.



Here is the participating the artists for the show. 

Emily Watson, Columbus, OH                

Rob Jackson, Athens, GA            

Yong Joo Kim, Providence, RI

Amelia Toelke, Madison, WI               

Tara Philips, Toronto, Canada      

Lisa Johnson, Bloomington, IN

Wesley Harvey, San Antonio, TX           

Ray Ogar, Little Rock AR           

Ronald Gonzalez, Johnson City, NY

Melissa Cameron, Victoria, Australia     

Barbara Knuth, Seattle, WA         

John Whitfill, Lubbock, TX

Renee Zettle-Sterling, Cooperville, MI   

Robly Glover, Lubbock, TX          

Nicole Burns, Lindenwood, NJ

Laura Wood, Greenville, NC               

Chader McDonah, Tempe, AZ          

Abigail Heuss, Greenville, NC

Re-Contextualizing Well-known Cultural Artifacts vs. Ambiguous Appropriation

http://www.nytimes.com/2010/02/28/weekinreview/28kennedy.html?_r=0

Is there a difference between re-conceptualizing well-known cultural artifacts and ambiguous appropriation?  Is the later too vague and inconspicuous?  Dishonest?

This conflict remains not far from my mind when using appropriation methods in my own work.  This NY Times article maintains that it is certainly on the mind of many others when Warhol’s soup cans are accepted and Helene Hegemann’s book is rejected.

Hegemann’s book borrows from many other literary artists and writers, including famous individuals as well as bloggers.  Those who were appropriated didn’t seem to mind but others are worried this is the beginning of a slippery slope.

With all the information now readily available to anyone surely supports this sort of thing will only increase so maybe it’s time to accept it and appreciate it as it won’t be going away anytime soon.  From my perspective, the possibility of expanding copyright laws could only harm artists who aim to critique.

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Essay/Article Response

April 23, 2011

What does it mean to know someone? Opening ourselves up to people make us vulnerable. Therefor people put up a guard to become a conformed individual of our society. When that guard comes down for a moment of uncovered truth, they might be seen as “weird.” Imagine a world where everyone’s true self were uncovered. But then you could also argue that humans are so complex that we are too ambiguous and every aspect of ourselves is too indefinite to be exactly so. We can’t be just one thing so we can’t ever be completely uncovered unless every aspect was taken into account.  In some ways, I feel like it is impossible to truly know someone if you are not in their head, you can only come to learn ones habits so well that they become can become predictable. In this context of thinking, that would be the extent that you would truly know someone.

Whether that made sense or not, this is me venting about how it is almost impossible to know how well you know the people around you. Someone could hold a secret forever, and you might never find out.

This picture is an image I am using in my re-contextualization of Hansel & Gretel. I juxtaposed two photos, a brick wall with the branches of a tree, and re-contextualized it by rephotographing it through a macro lens adapter.

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been working on some cool things and refraining from posting alot to work on (rly work on) a more formal statement of intention, so uh, here goes!!

 

The Body Is Not New

The pictures I’ve taken since graduating from Pratt in May​ have been prompted by the theatrical license inherent in a portrait photograph. Our perception of, and participation in, the photographic portrait today has​ been inevitably motivated by sustained experience with images of the human body, in movies, paintings, family albums, social media. The histories and traditions of bodies depicted, and the presence of cameras more particularly, have welcomed a tendency to perform, such images being tools for rehearsal. We place our hands here, stand like this, turn this way, and like language, over time the poses evolve, are reappropriated and recontextualized. In this way I feel the photographed body is territory for individual​ authorship, a theatrical sort of awareness of the present body’s position among past ones. It is not new, but an old, known production to which we may assign a unique voice.​

The ubiquitousness of the camera and the loss of the subject’s authorship are of primary concern in the current climate of contemporary photography. By posing for a picture we’re afforded the opportunity to assert new authority, describe an identity, continue a lineage. By taking a picture we’re afforded legitimate power. I wish to place emphasis on a photographer’s and a subject’s responsibility to the portrait.

images & words © Ian Lewandowski 2014

ianlewandowski.com

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Ralph Mecke and Yilmaz Aktepe

From their series Homage to Francis Bacon

We don’t usually post a lot of fashion photography on the Staged Photography Tumblr, but we really can’t resist when the primary topic is an homage to Francis Bacon, one of the greatest painters of our time.

One look at his paintings, and you will understand why this particular recontextualization works so wonderfully well. Ralph Mecke is a talented fashion photographer, it is good to see him push the envelope into a more creative language.

Special tip-of-the-hat given to Recom, a Berlin-based fine art printer and retoucher who handled the post-production.

Michael C. Hall Talks Hedwig, Exorcising Dexter, and Spin-off / a 'Recontextualized Dexter'

via thedailybeast: Michael C. Hall’s Hedwig is a self-proclaimed “girlyboy” growing up in East Berlin who falls in love with Luther Robinson, a U.S. soldier stationed abroad. Since their union must consist of a man and a woman, Hedwig is forced to undergo a sex change operation in order to be married—but it’s botched, leaving her with a one-inch scar between her legs. Eventually, she ends up fronting a glam rock band called “The Angry Inch,” named after her malformed vagina. And Hall, stepping into the glittery shoes once occupied by Tony-winner Neil Patrick Harris, is an absolute riot in the role, jumping off cars, air-kicking, and lap-dancing, all while belting out a roster of addictive rock tunes and sporting a plethora of designer wigs, hot pants, platform heels, and heaps of makeup.

The outré character is sure to throw even the most ardent fans of the Golden Globe winner for a loop. After all, Hall is best known for his masterful portraits of quiet storms, e.g. David Fisher of Six Feet Under or the title character in Dexter—characters whose eerily calm veneers belie inner turmoil. But believe it or not, Hall grew up with a penchant for far sunnier material, first singing in a series of choirs and then performing in high school musical productions of The Sound of Music, Oklahoma!, and Fiddler on the Roof.

Hall’s on a strict diet for the 7-performance-a-week show—one that not only requires him to cut out carbs, but also demands 40 minutes in the makeup chair each night.

So, while picking at a pair of grilled shrimp appetizers, we discuss everything from grinding on buttoned-up Broadway patrons to Dexter’s finale—and possible future.

You’ve starred in two Broadway plays back-to-back with The Realistic Joneses and Hedwig and the Angry Inch. Was this an inch you’d wanted to scratch while on Dexter?
Yeah. I had told my representatives that I was interested in doing a play again and getting back onstage, but I was interested in doing a new play by a young, preferably even American playwright. The Realistic Joneses fit the bill. And then this emerged. I do think that, with Dexter ending and Six Feet Under, that’s 13 years of playing two characters with small breaks here and there. It really predominated my experience of being an actor, and both characters were fraught with a certain tension, sense of conflict, and interior turmoil. There was a desire to perform an exorcism. Realistic Joneses got it started, and I think Hedwig has really cracked the nut; it’s completely recalibrated my instrument, and has been therapeutic. I’ll probably descend into a deep, dark depression when it’s over, but it’s great for now.

Read the whole interview after the jump.



Did playing such a demented character like Dexter for so long mess with your head? Because as an actor, you have to rationalize his decisions constantly.
Definitely. I think I’m only now processing that issue. You can do some sort of intellectual or emotional alchemy and substitute whatever Dexter is doing away with, with whatever you might deem worthy of doing away with. But in the end, you’re simulating murder and a life based on fundamental, formidable secrets and lies, and that’s going to do a number on you. There’s a part of us that doesn’t distinguish between ritual and reality, and there’s some way that whatever you’re performing is encoded in you, hence the need to perform some sort of exorcism. I think actors have a degree of preoccupation with their sense of what it is to be authentic—they’re dedicated to simulating authentic human behavior—and to play a character who himself is claiming to be without the capacity for that authenticity takes it to another level.

If you play a character, initially you’re called upon to investigate and bring to the table certain things that are initially useful, but if you do it for five seasons or eight seasons, it can feel like you’re beating a dead horse, tilling dead soil, or trying to reinforce things you’re trying to transcend in your own life. It’s an occupational hazard, I guess.

How did you end up starring in Hedwig? 
John came to see The Realistic Joneses and we went out to dinner after and talked casually about the show, but that was it. He didn’t ask about me doing it. Then he sent me a text and asked if we could “chat,” and he invited me to do it. I took a couple of weeks before I said yes because it’s a lot. But I’m a big rock ‘n’ roll fan, and a big fan of the music. The first time I met John was at Kim’s Video many years ago, and I geeked out on the movie and also saw the show downtown a while back. I harbor a rock ‘n’ roll fantasy, just like anybody, and I welcomed the challenge. She’s extreme, and I welcomed the challenge. I’m living a rock ‘n’ roll reality now, which is actually a lot less glamorous than you’d think.

It’s a grueling performance. What sort of preparation did you do for Hedwig?
Two or three weeks before rehearsals officially started I stopped eating bread and tried to get my cardiovascular fitness up, because singing those songs while executing all those moves—among many other things—is a real cardio challenge. I got a pair of heels before I started rehearsing that I used for a time before the ones they made for me for the show came, and they were higher than the ones I wear in the show and more difficult to negotiate. I started walking around the apartment in those and never rehearsed out of them. By the time I transitioned to the ones they made for me, which are made for my specific foot and calibrated to a male’s weight distribution versus a female’s, they felt like sneakers.

How do you choose your victims in the crowd who you kiss and give lap dances to?
[Laughs] Well, it’s good to pick someone who’s not too big because if they’re too big, it’s difficult for them to get both arms off the armrests so there’s nowhere to put my feet when I do the carwash thing. It’s good to choose someone who seems to be enjoying himself—not too surly, not too enthusiastic, but who will just let it happen. It’s pretty much a game-time decision. I try to pick a man just because it’s more fun for the audience, and seems more appropriate.

Have there been any strip club violations on you? Any unwanted ass-grabs?
No. There have definitely been people who haven’t cooperated and didn’t take their arm off the armrest—which is a mistake if you’re looking not to be humiliated, because I’ll really end up humping your face if that happens. And with kissing, I try to pick a male. Sometimes they’re game, but sometimes they get very wide-eyed and shake their head at me, so I’ll just kiss their cheek… or lick their forehead.

You have a very rich history of portraying gay characters, even going back to the Off-Broadway play Corpus Christi, which depicted Jesus and the Apostles as gay men in modern-day Texas.
Right. Corpus Christi was controversial because of a firestorm surrounding the idea of it, but the reality of the play was it was a pretty tame retelling of the story of Jesus that’s contemporized, and had a not-incidental gay theme, but didn’t really warrant the bomb threats and metal detectors at the theater. But yes, if it weren’t for the invitation on the part of gay writers, composers, and directors, I probably wouldn’t have my career!

I heard that after Sam Mendes directed you in your Broadway debut in Cabaret, it was him who recommended you to Alan Ball for Six Feet Under.
Alan just happened to be in New York auditioning people, and I got in the room to audition for the first time. Maybe at some point during that process he made the connection, but Sam certainly didn’t convince him not to hire me—although I’m not sure if he told him that he must. But it did seem like there was a serendipitous thing happening. I did a workshop of this Sondheim musical that’s had many incarnations called Wise Guys, and Sam directed that, and that happened to coincide with him looking for someone to replace Alan [Cumming] in Cabaret, so I was invited to do a workshop with him. I didn’t tell them that I played the part in college, so they thought I was an incredibly quick study.

Have you been singing and dancing your entire life?
I guess I have! The first formal singing I did was in a boy’s choir when I was in fifth grade, and was in choirs and musicals in high school. I sang for a second in a rock cover band in college, but that was pretty short-lived. We did some Police and Nirvana covers—and In Living Color. But I was a choir geek, and then got frustrated and took an acting class and realized that was the thing for me.

People who have only seen you in Six Feet Under and Dexter are going to be very surprised to see you as Hedwig.
Hedwig calls on me to have a much more expansive energy—not so interior. But still, someone who’s in some sort of state of conflict.

Right. You’re so great at capturing that inner turmoil. Are you plagued by your own sense of inner turmoil?
Sure. I sometimes feel vexed by—but also addicted to—a sense of conflict, or a sense of being at odds with myself, or my choices. They say your strengths can become your weaknesses, but in my case, perhaps my weaknesses have become my strengths.

You’ve faced plenty of adversity in your life, from your father passing away when you were just 11 years old to being diagnosed with cancer at 38. You’re a resilient guy.
Yeah, or maybe I’m just not really here. Maybe I’m just a cipher.

I saw you in Hedwig. You seem very much present.
[Laughs] Oh yeah, I was there. That happened. But it’s the only life I’ve known, and I think that anybody can make room for whatever comes their way, and on some fronts I’ve had to make room for things that not everybody has. But all in all, I feel pretty fortunate. As far as the cancer goes, it wasn’t a 50/50 scenario as far as my prognosis. I was told from the beginning that the odds were overwhelmingly in my favor as long as I decided on a course of treatment and went through with it. As far as cancers go, it’s one that they’ve known how to treat effectively, and because I was young and in good health, I could take the assault of the treatment. It coincided with a hiatus from work, too. I have a friend who said, “You know, when you have wet pants? It’s like having wet pants for six months, and then you take the pants off.” I try to keep that in mind.

Is this your first time dressing in drag, or have you ever had an Ed Wood moment?
When I did Cabaret I wore a dress at one point in the show, but it’s certainly the first time I’ve played a character like this. But, oh sure, when I was a kid I did. It’s like Hedwig says to Luther in the “Sugar Daddy” number: “Oh, heaven knows I’ve never put on women’s clothes—except for once, my mother’s camisoles.” I’m like that. But it’s liberating!

How so?
Being called upon or invited to open yourself to, or welcome in your woman. I would recommend it for all men. And that it’s not all softness—there’s a certain kind of strength there. It’s very liberating to dress up like a woman. And for me, probably because my father passed away when I was young—and he was young, and my mother modeled the full scope of my experience of parents, that I do associate the feminine with a certain resiliency and strength—because of my mother. Strangely, my Mom came to see the show last week over Thanksgiving, and I was a bit worried that it might be a little much for her. But it’s up there among the favorite things she’s seen me do, and she said after, “I kind of think Hedwig is more like you than a lot of the characters I’ve seen you play!” which was an amazing thing to hear.

I would be remiss if I didn’t ask you about the Dexter spin-off that Showtime’s hinted at.
First off, doesn’t a spin-off mean that it’s focused on another character? I don’t see how it’s a spin-off, but more of a recontextualized Dexter. He’s still alive as far as the story goes, and he didn’t really share with us what was going on with him in those final moments, which is a part of what some—not many viewers—found upsetting about the ending: “He’s not talking to us! What’s going on? What’s he doing?!” It was definitely an anti-closure ending, and if the character—and show—has life behind it, it leaves the door wide open. I finished Six Feet Under and said I’d never do another TV show and then Dexter happened almost immediately after, so if I said right now that there will never be another incarnation of anything involving the character of Dexter , cut to three months later and I’ll probably be on set shooting it. Never say never. But right now, I’m interested in doing other things.

I caught Cold in July at Sundance, and it’s a very good film.
I did that right after Dexter ended. It was the first step in my Dexter detox—to play a guy who killed someone without meaning to do it.

How’s the Dexter detox going?
It’s good! Really good. I feel like it’s in its final stages now that I’m doing the rock ‘n’ roll thing. The general notion of Dexter existing in a different context and, because of who he is, being a very different person, is interesting. I don’t know how to execute it, but that’s potentially compelling. Let me know if you have any ideas!

It’s funny that you’re involved in what many consider one of the greatest series finales in history in Six Feet Under and also one…
…That’s the most exasperating, frustrating, and roundly ridiculed? [Laughs]

And now Sia is huge. Every time I think of her I think of that Six Feet Under finale.
I know! Have you seen that “Chandelier” video? I only saw it recently, and I think I watched it ten times non-stop. She can really wail. I know some people who can’t hear that song [“Breathe Me”] without crying. I think Dexter was reeling ever since The Trinity Killer killed his wife, and was trying to make amends on some level, and it did nothing but destroy the lives of everyone around him. The idea that he chose to exile himself from the world by simulating his death and going to the middle of nowhere and disappearing is a justifiable choice as far as my sense of the character goes. The way it was executed was maybe not satisfying to people, and it was in no way tied up in a bow.

But would it have been strange to tie up Dexter in a bow?
Well, the only way Dexter could have been tied up in a bow was if the last episode would have been the last episode of Season 4. There’s his own son lying in a puddle of blood. Then I would’ve been in the two best finales! [Laughs] But we did four more seasons. Also, at that point the head of Showtime, Bob Greenblatt, left, and then our showrunner, Clyde Phillips, told that story and then left, so we were left without somebody running the writer’s room and how to deal with the mess that had been made of Dexter’s DNA and the world of the show, and I got cancer so I wasn’t very focused. Those last four seasons were inherently different, and there were times where I really struggled with my sense of who he was, but then I always fell back on, “Oh, well I guess Dexter is struggling, too.”

There’s a miniseries you’re set to executive produce, God Fearing Man, whose script is co-written by the late Stanley Kubrick.
It’s based on a script that he wrote called God Fearing Man about a guy who was initially a man of the cloth who became the most successful bank robber of his time. The script would be used as more than just raw material, but would need to be fudged. We’re in the process of figuring out who might be the right person to do that, and it’s in its early stages. I’m not positive that it would work out that I’d play the part, but I’m interested in playing it. When I start talking about the character with writers, I feel like I’m talking about Dexter sometimes.

Do you feel liberated now that you’re no longer tethered to a long-running TV series?
As most actors are, I’m convinced that everything is going to disappear and that I’m not going to be able to do this anymore, but it’s nice to commit to things that have an immediate end in sight. That’s a whole new world. I didn’t anticipate things would go this way. Maybe I’ll just go to the Pacific Northwest and chop down trees.

[Source]



from Dexter Daily http://ift.tt/1yIN9nW

Lmao in my class we had to recontextualize an art piece by making a magazine collage and mine was the massacre of the innocents by Francois something and so I basically made a collage that discussed the unjust murder of black kids and of course I used all black people and during the critique this white girl spent like 3 minutes trying to find a mother phrase for “black people” I was trying so hard not to laugh

HALSEY MCKAY GALLERY

GEORGIA DICKIE | AWFUL RESIDUES

December 20 - February 22 | Opening reception: Saturday December 20, 6 - 8 pm 

Halsey McKay is pleased to present its first exhibition with Toronto-based artist Georgia Dickie. The installation that makes up Awful Residues, is comprised of roughy twenty uniform material stacks that fill the gallery. Arranged in a grid, from low to high and directly on the floor Dickie’s installation performs as one work, though a stack could be  extracted from the group, in the same way that an individual piece could be extracted from a stack. This physical removal, rearranging and recontextualization serves as a metaphor for how the artist’s practice operates. She organizes chaos in an optimistic way by dismantling and rebuilding, then disconnects and moves forward by starting again. The exhibition is not a site specific work, but rather a grouping of works reassembled according to the original configurations that were conceived in Dickie’s studio. Nothing is adhered, rather all of the components are brought together and stacked and arranged in a highly specific way. Following the exhibition, all the components will be returned to the studio and incorporated back into her material inventory, then either recycled into new works or re-assembled in other venues.

 

Georgia Dickie (b.1989, Toronto, Canada) graduated with a BFA from the Ontario College of Art and Design University in 2011. Her work addresses the complexities of contemporary object-based practice, and is characterized by a deep interest in found materials and their inherent limitations. Recent and forthcoming exhibitions include V1 Gallery, Copenhagen; Greene Exhibitions, Los Angeles; Croy Nielsen, Berlin; Cooper Cole, The Power Plant, the Museum of Contemporary Canadian Art, Toronto; Oakville Galleries, Oakville; Nudashank, Baltimore. She will be the Canada Council for the Arts artist in residence at Acme Studios in London, UK through February 2015. Dickie currently lives and works in Toronto, Ontario.