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En estos tiempos de hipercomunicación bastaría la invitación de enviar a un amigo cualquiera de los textos que consideres interesantes algo redundante: demasiada comunicación, demasiados textos y , en general, demasiado de todo.
Es posible que estemos de acuerdo... pero cuando encuentras algo interesante en cualquier sitio, la red, la calle, tu casa, o un lugar escondido y remoto, compartirlo no sólo es un acto (acción, hecho) de amistad o altruismo, también es una manera de ahorrar tiempo a los demás (y de que te lo ahorren a ti (si eres afortunado) a costa del tiempo que tu has podido derrochar (emplear) y el gustazo de mostrar que estuviste ahí (o donde fuera ) un poco antes (el tiempo ya no es más el que era).
Comparte con tus conocidos aquello que encuentras, es evolución.
Jeremy Blake - Century 21 (2004)
09-05-08 greylodge.org  

 

Jeremy Blake studied traditional painting in art school. "If you had asked me if I was interested in computers as a tool to make art, I would have said no," he says. But when Blake graduated from Cal Arts in 1995, he needed a job - and found a gig in New York as a digital photo retoucher.

Jeremy Blake


 "I worked for a Corsican guy who berated me in French because I was so bad," Blake recalls. "After a few months he said, 'Jeremy, I'm very sorry because you are cool guy, but you have no future in computer!'" The job was a disaster, but the experience of manipulating images pixel by pixel lit a fuse. "The computer is the visual equivalent of an electric guitar," Blake says. "I was trained on an acoustic."

Ten years later, Blake has combined painting and computers to produce a techno take on traditional portraiture. His latest subject is Sarah Winchester, the eccentric heir to a firearm fortune. After her husband and infant daughter died in the 1880s, she concluded that the family was cursed, haunted by the spirits of those killed with Winchester rifles. On the advice of a medium, she built an enormous mansion in San Jose, California, to appease the ghosts. "I had read about it as a kid," Blake says. "I knew it was a house built around superstition - a fear of dead gunfighters - and it seemed to reflect contemporary events." Blake's 51-minute portrait of Winchester is contained on three DVDs, which will screen together in the US for the first time at the San Francisco Museum of Modern Art beginning February 19.

The first film, Winchester (2002), opens with the family mansion fading in and out of focus as the shadow of a gunman drifts across the screen. Odd elements are juxtaposed - cowboys from old ads morph into tracings of the house's art nouveau wallpaper. The second DVD, 1906 (2003), returns to the mansion after the great '06 earthquake. A maze of cracked plaster, winding corridors, and stairways to nowhere becomes a metaphor for Winchester's deteriorating mental state. Blake widens the view in the final chapter, Century 21 (2004), to explore the sickness - and the sexiness - of American violence. Each film runs in a continuous a loop - no titles, no credits. "Neurosis," Blake says, "is a broken record in your head." The cumulative effect is somewhere between a great expressionist painting and a bad acid trip.

Each frame of the trilogy is constructed in layers, like a conventional painting. Blake combines video, drawings, gouache, still photography, 8- and 16-mm film, and CG graphics. "For me," he says, "the computer is a way to get all your favorite mediums around the dinner table - and get them arguing." The technique places Blake among the new masters working with computers today who have moved beyond whizbang effects to celebrate pure aesthetics. "There are many people working with an individual medium," says Christiane Paul, a curator at New York's Whitney Museum of American Art, where two of Blake's DVDs are in the permanent collection. "What distinguishes Jeremy is that he works in a variety of mediums in a very painterly way."

Blake has taken his craft beyond the gallery walls. He designed the cover for Beck's Sea Change album and produced abstract visuals for Paul Thomas Anderson's film Punch-Drunk Love. Trading art-world pretensions for the practicalities of the music and film studio were welcome changes: "I like artists who don't feel superior to the culture they critique." (Read the rest of this post at ArtTorrents)

Download Torrent - 905 mb.



(picturenoMark Kurosagi)(http://alisonctuck.typepad.com/womanandchildfirst/images/2007/08/15/theresa_about1.jpg)

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