NEWSgrist: *Carrie Moyer: Hail Comrade!* Vol. 3, no. 19 (Nov. 25, 2002)
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NEWSgrist
where spin is art
http://newsgrist.net
{bi-weekly news digest}
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Vol. 3, no. 19 (Nov. 25, 2002)
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CONTENTS:

- *Splash* Carrie Moyer: Hail Comrade!
- *Quote/s* Todd Haynes' revolt
- *Url/s* Stop Motion studies and more…
- *Not Pleasantville* On being Far From Heaven
- *Screening Room* Mirapaul on screenwriters' sites
- *Double Vision* Haluk Akake's Illusions…
- *Death as Readymade?* Sergei Bugaev's 'Stalker 3'
- *Cyber Grist* Artwurl is back; Eyebeam forum
- *Unnatural Selection* Call for participation
- *Obits* Carole Kismaric; Michael Majerus

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*Splash* http://newsgrist.net

Imagine!
Morris Louis mixing it up with some delicious Commie Agitprop.
POURS TO THE PEOPLE. HAIL COMRADE!!!

>>> CARRIE MOYER
>>>> Hail Comrade!

December 5, 2002 - January 11, 2003
Opening Reception: Saturday, December 7, 6-8pm
Debs + Co.
525 West 26th Street
New York, NY

this splash page is archived at: http://www.newsgrist.net/Splash_Moyer.html
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*Quote/s*

"I've always had a hard time depicting the experience of radical
revolt from culture, truly transgressive experience. That kind of
experience is ultimately everybody's own job and work to do;
you're cheated when it's given to you intact. In a way I'm more
comfortable showing the limits that make that kind of response
necessary." -Todd Haynes (see *Not Pleasantville* below)

http://www.artforum.com/inprint/id653&pagenum=2
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*Url/s*

1) David Crawford : Stop Motion Studies - Series 2
http://www.turbulence.org/Works/sms2/index.html
2) Antonio Jorge Goncalves: Subway Life
http://www.subway-life.com/
3) Delve: Issue 02 - an exploration of visual culture
http://delvemagazine.com
4) Los: contemporary poesy & art
http://home.earthlink.net/~lospoesy/
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*Not Pleasantville*

Past Perfect [excerpt]
GEOFFREY O'BRIEN interviews Todd Haynes

Artforum Feature - November Issue
http://www.artforum.com/inprint/id653

IN ANTICIPATION OF THE RELEASE THIS MONTH OF 'FAR
FROM HEAVEN, TODD HAYNES'S EAGERLY AWAITED
HOMAGE TO DOUGLAS SIRK, GEOFFREY O'BRIEN VISITED
THE DIRECTOR AT HIS HOME IN PORTLAND, OREGON,
WHERE THEY DISCUSSED HAYNES'S CANNY REDEPLOY-
MENT OF THE SYNTAX OF '50S CINEMA.

Seen from one angle, Todd Haynes's Far from Heaven is a
cunningly precise pastiche of a movie Douglas Sirk might have
made in 1958–if, that is, Universal Studios had been prepared
to release a movie bearing on homosexuality, interracial
romance, and the civil rights movement. Right from the start-
as the camera descends through autumn foliage toward an
overview of a serene street in what is meant to be Hartford,
Connecticut, to the sweeping, plangent accompaniment of
Elmer Bernstein's score– we have the vertiginous impression
of being dropped back into a past all the more welcoming for
having never quite existed in the first place. As Haynes
explains, the film is built out of "the language of '50s cinema,
not the '50s." But if this point of departure suggests either a wan
conceptual exercise or an attempt to satirize the foibles of a
long-gone social order, the result is strikingly different: a movie
whose period stylization taps into reservoirs of powerful emotion.
Through an unexpected alchemy, Far from Heaven ends up
becoming the object it contemplates, and its path of conscious
artifice leads toward a tragic sense of reality.

"Everything about film is always artificial," Haynes remarks.
"You can come to something far more surprisingly real by
acknowledging how much of a construct it is first. It always feels
so much more false to me when you set out to be real." Far from
Heaven signals its artifice at the outset by its unmistakable
links to Sirk's 1955 masterpiece All That Heaven Allows (a
work that, after Far from Heaven and Fassbinder's 1974 Ali-Fear
Eats the Soul, should be recognized as not only a great film but
the cause of other great films). Here it is not Jane Wyman but
Julianne Moore who falls in love with her gardener, here not a
Thoreau-influenced Rock Hudson but Dennis Haysbert as an
African American intellectual who wins Moore's heart partly
through his eloquent commentary–at a suburban art show where
his mere presence creates ripples–on the religious implications
of abstract art. Where Wyman in the Sirk picture is recently
widowed, in the Haynes film Moore finds herself abruptly
estranged from her business exec husband (Dennis Quaid)
when his long-repressed homosexuality comes vividly to her
attention.

The husband's sexual crisis is handled with an aura of hysteria
and pseudoscience appropriate to the period–his anguish and
shame call to mind Grant Williams as The Incredible Shrinking
Man (1957) angrily rejecting his wife when she attempts to
comfort him for his mysterious loss of masculine pride. In these
early scenes–a pickup in a gay bar, an interrupted assignation
in an office, a session with a therapist offering the latest theories
on curing homosexuality–one has the sense that Haynes is
having fun by messing with the proprieties of '50s cinema,
showing what could not have been shown, somewhat in the
manner of those "Scenes We'd Like to See" that used to be
featured in Mad magazine. Here is a way to reinvent the past, to
travel back in time and insert forbidden episodes, taboo
locations, into the history of cinema.

The sense of risk is palpable, since at any moment the movie
might founder into the ridiculous or caricatural. But Haynes isn't
interested in the kind of easy satire of suburban conformism
encountered in a movie like Pleasantville (1998). "When most
people see films set in the '50s today," he says, "there's an
immediate sense of superiority. It's all about the myth that as
time moves on, we become more progressive. Oh wow, they
didn't know what sex was until we started to give it to them from
our contemporary perspective. So the '50s become a sort of
earmark point of oppressive politics and climate, which is very
flattering to us as we look back."

Rather than imposing the enlightenment of latter-day opinions
on its version of the '50s, Far from Heaven adopts the
perspective of characters who can see no clear way out of the
dilemmas their world forces on them. There are no villains here:
"To me the most amazing melodramas are the ones where when
a person makes a tiny step toward fulfilling a desire that their
social role is built to discourage, they end up hurting everybody
else. It's like a chess game of pain, a ricochet effect where
everybody gets hurt but there's nobody to blame." To find pain
at the heart of the lushest cinematic pleasures is the film's
peculiar accomplishment.

Those pleasures are associated with a past as alluring as it is
ultimately unreachable: the mythic '50s of precisely this kind of
psychological melodrama, an era that (like the Old West, where
sheriffs and outlaws play out their confrontations) starts as a
historical period–after the depression and World War II, before
the eruption of social unrest and personal liberation in the '60s
–and turns into a region outside time, an operatic space where
emotions, hemmed in, finally prove irrepressible. "I love these
films," says Haynes, "because they were always more about the
smaller domestic limitations of possibility and experience than
the genres associated with men, like the western or the gangster
film, which are about the limitless frontier that you can discover
and take over." In the verismo of '50s melodrama, the climax
comes not with an explosion of gunfire or the advance of cavalry
down a hillside but through a blossoming of inner feeling, gently
assisted by a full-bodied color palette and an orchestra alert to
every shift in mood.

[cont'd] : http://www.artforum.com/inprint/id653&pagenum=1
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*Screening Room*

Aspiring Screenwriters Turn to Web for Encouragement
By MATTHEW MIRAPAUL

NYTimes, ARTS ONLINE Nov 11, 2002
http://www.nytimes.com/2002/11/11/arts/11ARTS.html

Michael Croney, an aspiring screenwriter in Denver, is waiting to
learn this week if "Ronald's Mom Is Clairvoyant," the script he
submitted to an Internet-based screenwriting contest, has been
chosen as one of the 50 finalists. But almost as important to him
are the critiques that he will get from other screenwriters as part
of the contest. Two years ago, in an earlier contest, another
screenwriter complained that Ronald's relationship with a woman
was too "claustrophobic," causing Mr. Croney to rewrite the
script.

Mr. Croney, 32, lives far from Hollywood, so the Internet is
where he turns for constructive criticism and script-polishing
tips. He is hoping that this year's reviews will yield a variety of
insights. Mr. Croney also had to assess other scripts, some of
which he thought bad, and in the writer's traditional lament he
said, "It was strange that these same people were reviewing
me."

Internet sites for amateur screenwriters are opening faster than
James Bond sequels. Like sites devoted to unsigned musical
acts and unpublished authors, virtual screenwriting spots like
ProjectGreenlight.com and Francis Ford Coppola's
http://wwwZoetrope.com promise to use the Internet as a tool
to break through industry entry barriers while allowing
participants to hone their craft through friendly exchanges.

The newest of these screenwriting sites is
http://www.TriggerStreet.com , which went online yesterday. The
venture is an offshoot of the actor Kevin Spacey's production
company. With its heavily animated graphics and Mr. Spacey as
a magnet, the site encourages writers to submit their scripts, so
that movie executives, who are constantly seeking new talent,
might drop by and discover them.

Mr. Spacey said he decided to start his site after realizing that
the Internet could act as a source of creative projects that might
never be delivered through agents and other traditional channels.
He said, "Sometimes the best material you ever see is the stuff
that gets chucked over the wall." (For instance Mr. Spacey's
1999 comedy "The Big Kahuna" was written by a chemical
engineer with no Hollywood credits.)

Mr. Spacey also said he was committed to giving opportunities
to undiscovered talent. Once one has risen high in one's
profession, he said, it is time to "send the elevator back down."

In theory the concept is as solid as, say, a Steven Spielberg
movie starring Harrison Ford and Julia Roberts. Because the
screenwriting sites require the authors to review others' scripts
before they can submit their own, producers do not have to dig
through a pile of "Spider-Man" knockoffs in the search for a hit.
Instead, they can focus on the highest-rated entries.

Dylan Kidd, a writer-director in New York whose independent film
"Roger Dodger" was just released, said he could see the value
of the screenwriting sites even though he did not visit them. "All
you hear is studio executives bemoaning the fact that there is no
good product and actors talking about how there are no good
roles," Mr. Kidd said. "But I know 20 people in the city who have
screenplays that they can't get to anybody. There's got to be a
way to use the Web as a pipeline."

So far, though, few have been able to parlay their online
experience into an elevator ride. Project Greenlight, which
includes the actors Ben Affleck and Matt Damon, awards its
contest winner a $1 million movie budget. The first winner, Pete
Jones, beat out 10,000 competitors for the right to direct his
script. The process was documented in a Home Box Office
series that was better received than the film, "Stolen Summer,"
itself.

At Zoetrope.com, an offshoot of Mr. Coppola's American
Zoetrope studio, about 4,500 scripts have been submitted since
June 2000. The studio has optioned three of them, but only one
Ted and Michael Peterson's horror script "Monster" remains
under active consideration.

Michael Hudin, director of the Zoetrope site, said it was only a
matter of time before the sites started generating hits. He said,
"The minute that one script gets developed and becomes a big
moneymaker or is even just a good film there will be so many
copycats."

The screenwriting sites have many comparable offerings. For its
second contest, Project Greenlight is holding separate
competitions for screenwriting and directing, so some candidates
have been submitting short film scenes. Similarly, the Zoetrope
site will hold a short-film contest in the first half of 2003, and
the Trigger Street site will run three or four short-film festivals
a year, Mr. Spacey said.

Others argue that what participants bring to the sites in terms
of personal contacts and constructive criticism is more
important than whether actual movies result. For instance, the
Project Greenlight site has nearly 26,000 members, and its
message boards have allowed filmmakers to find collaborators in
their own cities.

Mr. Kidd said inexperienced screenwriters would benefit from
having their scripts ruthlessly reviewed by others. "The earlier
you knock a script off its pedestal and get down and dirty, the
better," he said.

Of course this also means that the sites are only as good as
their members allow them to be. Mr. Croney learned in the first
Project Greenlight contest that not all reviews are worthwhile.
And with a sizable budget at stake, there have been allegations
that some Project Greenlight contestants purposely gave low
scores to other scripts to enhance their own odds.

Fred Gonnello, project manager of Project Greenlight, said that
problem was not widespread. He added that judges in later
rounds would look at finalists' reviews to make sure they had
not unfairly undermined their peers.

But allowing a site's visitors to identify the best scripts raises
another question. As much as one despises the formulaic nature
of most Hollywood fare, should creative decisions be made or at
least influenced by an online democracy rather than the
industry's power brokers? An answer probably depends on
personal philosophy. Does one use the Zagat consumer
survey or a newspaper's skilled restaurant reviewers to decide
where to dine?

Mr. Croney said he was planning to submit his script to Mr.
Spacey's site. Pamela Kay, on the other hand, no longer needs
to care about such ventures. Ms. Kay, 33, an aspiring screen-
writer in Spokane, Wash., wrote her first screenplay in 2000 to
enter the Project Greenlight contest. She stopped using that
site for feedback, she said, "because everyone was at each
other's throat trying to get ahead." Instead, she set up a private
site where she could exchange criticism with eight friendly
writers. She also tweaked her scripts after receiving helpful
comments from Zoetrope members.

Last month Ms. Kay's script for a film, "Nude and Naked," about
a conservative woman in a life-drawing class, won a screen-
writing fellowship from the Academy of Motion Picture Arts and
Sciences. She has also landed a manager, who is showing her
scripts around the industry.

Now, Ms. Kay said: "I can do things the traditional Hollywood
route. I don't have to try the new, unproven Internet."

http://www.ProjectGreenlight.com
http://www.Zoetrope.com
http://www.TriggerStreet.com
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*Double Vision*

Split-Screen Dream
by Ned Higgins

Artnet Mag, 11/19/02
http://www.artnet.com/Magazine/reviews/higgins/higgins11-18-02.asp?C=1

Haluk Akake, "Illusion of the First Time," Oct. 28, 2002 -
Jan. 10, 2003, at the Whitney Museum of American Art at Phillip
Morris, 120 Park Avenue at 42nd Street, New York, N.Y. 10017

Haluk Akake, a 32-year-old artist from Turkey who lives in New
York City, is creating the world anew in a decorative, digital
space. His current installation at the Whitney Museum at Philip
Morris, "Illusion of the First Time," presents three short videos
filled with images of flower stems, tulips and clusters of stripes
floating through gauzy, abstract atmospheres. Projected onto
three enormous panels in a darkened gallery and accompanied
by a ambient soundtrack, the work is a soothing and carefree
meditation on life, growth and movement.

In the first video, ambient harp music plays as a blurry pastoral
background, not unlike Uta Barth's photographs, comes into
view. Then, one by one, flower buds appear and float upward as
they open and contract, suggesting fish swimming to the surface
of a pond. This odd ritual concludes with the flowers hovering
together at the top of the screen.

The second video is more dynamic and compelling. Horizontal
black lines race up a white field at a maddening pace. The central
group breaks apart and new lines dive in from all sides.
Eventually, the stripes slow and widen, and the white spaces
spread apart and flicker out. The cascade of abstract elements
has a human vitality.

The third video shows chalky plant stems with various buds
vertically coasting through a grey background, reminiscent of
DNA helixes done in a Mapplethorpe-like palette. The effect is
not unlike seeing a spectral, scrolling wallpaper, or a decorative
carpet design that has come alive.

In the last two films, the vertical figures overlap and blot each
other out, creating a solid black or white field. Akake is
interested in how "an abstract element becomes lost in a
society of similar elements and, like people, its identity becomes
lost." The tidal motion of these figures redeems the loss of the
individual one. The figures' submersion in the larger pattern
makes the individual's eventual absence reasonable, even
desirable. The works manage to acknowledge death, and smooth
over the fear of it. The larger scheme is involving enough that
the individual's participation is all that matters.

NED HIGGINS is managing editor of Artnet Magazine
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*Death as Readymade?*

Snuff movie or art-as-journalism?
The installation by the Russian artist Sergei Bugaev contains
video footage of brutal killings filmed live in Chechnya
By David D'Arcy

The Artnewspaper, Nov. 22, 2002
http://www.theartnewspaper.com/news/article.asp?idart375

NEW YORK. A New York gallery is showing a work of art which
includes lengthy footage of soldiers actually being killed during
an al-Qa'eda attack on a Russian convoy in Chechnya. The
video was sent to the artist, Sergei Bugaev by a friend in
Russia's special forces.

It is part of an installation intended as a meditation on
"petroleum violence", and it is titled "Stalker 3", in homage to
Andrei Tarkovsky's 1979 film of the same name.

"This is not unique material. Maybe CNN has got it or Russian
television, but they will not spend one hour of time showing it",
says Bugaev. In fact, most major TV services, including the
BBC, have a taboo against showing the moment of death.

So far, the video seems to have attracted notice more for its
formal values than for the horror it shows. Visitors are coming
for its journalism, its agit-prop tone and its seductive twist of
exploitation formulas. None the less, it raises the spectre of
"snuff" movies, that end with the actual killing of people.

Bugaev claims not to know much about that genre. He calls
"Stalker 3" a "ready-made", giving it a Dada pedigree, and
centering it around his personal appropriation of the video, which
was shot by a Jordanian fighting with al-Qa'eda soldiers in
Chechnya.

"Stalker 3" is one of a growing number of "works of art as
journalism", or parallel journalism, in which images not televised
are shown, often for sheer dramatic effect, or sequences of
images are presented uncut in a way that only C-SPAN or al-
Jazeera would do on air.

The phenomenon also reflects an accidental evolution. In the
growing crush of biennials artist-stars are frequently expected
to present something new every weekend.

What could be more up-to-date than the new headlines, with
images of violence or grotesquery sanctioned by an artist's
signature and a knowing title? As Warhol understood, news
images are just another kind of soup can.

What is more, given the paucity of international coverage on
American television, this may be the largest dose of information
on Chechnya that gallery visitors will ever get.

Bugaev's timing could not be better. "Stalker 3" is at I-20
Gallery in SoHo [sic*] (until 12 December) just as a remake of
Tarkovsky's "Solaris", with George Clooney, opens in US
cinemas.

Bugaev, a non-Chechen with a Chechen name, has felt the
atmosphere chill in Russia over the years of the Chechen war.
He has connections beyond art circles; he is also on the staff of
a Russian MP opposed to the Chechen war.

"This is not the first time that I've shown something that is not
supposed to be shown", but he is at pains to point out that if his
aim had been truly exploitative, he would have included other
scenes that he has on tape, such as the point-blank execution
of Russian prisoners.

The video was originally made because al-Qa'eda was awarding
bonuses for the killing of soldiers and the destruction of tanks
and trucks: "Right now it's very popular in Chechnya to blow up
a car with a bomb, but if you don't videotape it, it hasn't
happened. This video says it's happened; now give me my
money", Bugaev explained.

"Stalker 3" is available to an institution for about $100,000,
cheap for an art video these days.

* I-20 Gallery
529 West 20th Street, 11th Floor, NY
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*Cyber Grist*

Artnet News 11/19/02
http://www.artnet.com/Magazine/news/artnetnews2/artnetnews11-19-02.asp?C=1

ARTWURL IS BACK
Artwurl, the webzine of the PS 122 Gallery on Manhattan's
Lower East Side, overseen by artist and critic Calvin Reid, is
back online. New material on the nonprofit cultural quarterly
includes interviews with Rochelle Feinstein and Wong Dowling,
plus artist's projects by Jessica Watson, Genya Turovsky and
Shawn Hansen. See http://www.ps122gallery.org/artwurl/index.html

NEW MEDIA FORUM LAUNCHES
Eyebeam launched its fifth annual online forum on art and
technology on Nov. 11, 2002, with the theme of "The (Re)
Structured Screen: Conversations on the New Moving Image."
Organized by Eyebeam's Moving Image Division in conjunction
with the Integrated Media Program at CalArts, the project allows
for freewheeling online discussion in an assortment of forums.
Participants include artists Jeremy Blake and Matthew Ritchie
and curators Chrissie Iles and Ann Barlow. Four net art pieces
have been commissioned from Yucef Merhi, Marina Zurkow,
Carole Kim and Jesse Gilbert and ENTROPY8zuper. See
http://www.eyebeam.org/restructuredscreen to view the art and
interact with the panelists. The forum's media sponsors are
Artkrush and Artnet.
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*Unnatural Selection*

ARTIST NEEDS YOUR HELP W/ INTRIGUING NEW PROJECT!
PLEASE PARTICIPATE - PLEASE FORWARD

"From Farm to Pharm: The Evolution of Artificial Selection"
A project by Brandon Ballengee
http://www.galleryoldham.org.uk/

Gallery Oldham, Greater Manchester, England
Opening 30 November, 2002

New York artist Brandon Ballengee, one of the artists in
residence at Gallery Oldham during November as part of the
Arts Catalyst's CleanRooms exhibition, is working on an
intriguing new project called From Farm to Pharm: The Evolution
of Artificial Selection. The project explores the origin and growth
of current practices in genetic engineering and Ballengee needs
your help to make the project a success!

Ballengee is currently working with people from Oldham visiting
English farms, pet shops, urban parks, markets, and biotech
laboratories to help trace the history of humankind's struggle for
dominance over natural evolutionary forces. According to the
artist, "the 'Unconscious' selection of our early ancestors shifted
to selective breeding or artificial selection and has now evolved
into the manipulation of individual genes to create entirely new
species." Creating images of hundreds of species/breeds, the
artist will create an enormous visual time-line (over- 35 meters
in length!) exploring the changes in plant and animal life over the
last 25,000 years.

You can participate! Please submit pictures. Alongside the
installation, he is also creating an online timeline on the same
theme to be displayed on Gallery Oldham's website. In order to
create this online version Brandon needs people to submit
pictures of any domesticated plants and animals such as pets,
farm animals, crops, house and garden plants, fruit and
vegetables.

To get involved you can email your pictures to Gallery Oldham
at alteredanimal@oldham.gov.uk for animal pictures,
modifiedflora@oldham.gov.uk for plant pictures, post them to
Brandon Ballengee at Gallery Oldham, Greaves Street, Oldham
OL1 1AL.

Please include the name of the species/breed/type of plant or
animal together with where and when the picture was taken.

If you know anything about the history of the breed or species
and when and why it was domesticated, for example roses were
domesticated as a hobby and apples for agricultural reasons
please include this too.
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*Obits*

Carole Kismaric, 60, Photography Book Editor, Is Dead
By ANDY GRUNDBERG
NYTimes 11/20/02
http://www.nytimes.com/2002/11/20/obituaries/20KISM.html

Carole Kismaric, an innovative editor and book packager who
helped start the Time-Life Photography Series and for 10 years
was editorial director of the Aperture Foundation, a nonprofit
publisher of fine-art photography books, died yesterday at her
home in New York. She was 60.

The cause was pancreatic cancer, her sister, Susan Kismaric,
said.

While at Aperture, from 1976 to 1985, Ms. Kismaric was a force
in changing the face of photography book publishing. At the start
of her tenure, books of fine-art photography including Aperture's
generally reproduced one picture per page, without caption or
text and surrounded by a frame of white space, as if it were a
framed print. […]

But her purpose was more than a matter of presentation: she
sought to demonstrate how books of artistically bold pictures
could also yield social and political meanings beyond the purview
of art and thus appeal to broad audiences.

To further demonstrate how thoroughly photographs are in-
grained in contemporary culture, in 1991 she joined with Marvin
Heiferman, an independent curator and writer, to create Lookout,
a partnership that developed and produced exhibitions and
publications. [excerpted]
……………………………………………………

Michel Majerus Dies in Plane Crash at Thirty-five
ArtForum 11.10.02
http://www.artforum.com/news/week 0245#news3772

MICHEL MAJERUS DIES IN PLANE CRASH: Thirty-five-year-
old artist Michel Majerus was among the victims of an airplane
crash on November sixth in Luxembourg. Majerus, who was born
in Luxembourg and studied in Stuttgart before moving to Berlin
in 1992, forged a bold new brand of painting-installation, which
combined pop-cultural and painterly concerns. Among his many
memorable works was a painting that also served as a functional
half-pipe ramp for skateboarders at the Klnischer Kunstverein
in 2000. In its report, FAZ.NET notes, "Majerus's images spread
over walls and floors, ceilings and ramps. They cannot be seen in
one glance, for they fill up the entire room, creating a passage
from the virtual world of the Internet to the reality in which we
still live. His great achievement was to confront the experience
of virtual, total, emotional space with the real spectator's
perception." In Berlin's Tageszeitung, curator Klara Wallner
offers a personal reflection on Majerus's work, while the
Sddeutsche Zeitung's Jrg Heiser writes on the artist's wide-
ranging production, from a recent solo show at Friedrich Petzel
in New York to an image of a housing project that he wrapped
around Berlin's Brandenburg Gate in September 2002.

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