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On the Road in the “Wild West” World Of U.S. Marshals
This November, powerHouse will publish “U.S. Marshals,” a book of photographs taken by Brian Finke as he infiltrated the world of the titular law enforcement agents. These images — which are, as the artist admits, more than a bit heroic — have an extra frisson amidst the current debate over the militarization of police forces in the age of Ferguson. ARTINFO’s Scott Indrisek chatted with Finke about the project, which will also be the subject of a solo exhibition at New York’s ClampArt, on view November 20 through December 20. As the forward to the book explains, your in-road to the world of “U.S. Marshals” was via a childhood friend, Cameron Welch. Did you ever suspect that your friend Cameron would grow up to be a U.S. marshal? How has his current vocation changed the person you knew growing up, if at all? I still see him as the same person from growing up: This guy in high school that knew everyone, that would always know the place to be on a Friday and Saturday night, a really great, sincere, outgoing guy. It’s kind of surreal seeing him as a U.S. marshal, but at the same time it totally makes sense. He’s really intense about what he does and I’m happy for him that’s able to have that passion for his career. Before beginning this project, what were your own general thoughts and experiences regarding law enforcement? How did those thoughts and opinions change, if at all, during the duration of the project? What’s amazing about what I do and one of the reasons I feel very fortunate is that photographing allows me to enter all these amazing worlds. One day I’m photographing a BBQ story in Texas, then flight attendants in Detroit, then the next day hip-hop music video models — it’s always something new, and an extremely intoxicating and addictive way of life. My entry into photographing the marshals felt very natural. The very first day out we were driving 120 mph down the freeway to capture an escaped convict. It was such a thrill being there that all my photographs felt super heroic — actually too much so that they were almost like propaganda posters — but that was just because the images reflected how excited I was being there, and my reaction to the experience. It’s pretty bad-ass watching the marshals do their jobs. What was one of the craziest things you encountered or observed while traveling with marshals across the country to capture these images? Did you ever find yourself in danger? I witnessed sex-offender round-ups in Las Vegas, a Con Air prison extradition from Cuba, and intense Texas/Mexico border activity, like in the Wild West. But I never felt my life was in any danger. Maybe I was a bit naïve in some situations, but the marshals are all about overwhelming force when going to serve the warrants. It’s amazing watching them do their thing. One thing that’s readily apparent from your photos is that the marshals have some serious hardware. In your opinion, is all of this gear necessary for the job, or is some of it excessive? I am not a journalist, a reporter, or activist. I photograph subject matters that fall in the documentary area but it’s not my intention to comment directly on current events. I leave that up to the viewer to take what they will from the photographs and come to their own conclusions. Your body of work is very diverse, to say the least — you’ve shot everything from hard-partying frat boys to travelers on Amtrak and Japanese baseball players. When you’re capturing diverse subcultures like these, or traveling with a marshal to photograph their daily life, how involved do you personally get in the experience? I love what I do and I’ve come to realize I really have to participate in order to commit to so much time with a subject. I spend a few years on these book projects and I get completely obsessed with them. When my assistant and I are with the marshals we’re in the back seats of their SUVs, binoculars in hand, scoping out the WalMart parking lot and waiting for the operation to go down. We’re right there behind the action. And when the marshals say, “Put on the bulletproof vest” — we do.  On the Road in the “Wild West” World Of U.S. MarshalsSelect Photo Gallery: Slideshow: Photographs by Brian Finke Published: September 16, 2014 Read full article here

Slideshow: Photographs by Brian Finke
Language English Featured: 0Order: 0Author(s): Regina MogilevskayaSub-Channels: FeaturesShort Title : Photographs by Brian Finke Read full article here

Basilica SoundScape Is Not Your Average Music Festival
Basilica SoundScape Is Not Your Average Music FestivalLet’s be frank: Most music festivals are terrible. There is perhaps no worse way to ingest live performance than in the sweltering sun, in a field adjacent to a village of Port-a-Johns, in an environment as ecstatically corporate-branded as a NASCAR track. Thankfully there are still a few small-scale festivals out there, Basilica SoundScape chief among them, which put a focus on intimacy and adeptly curated content. This weekend the third edition of the event unfolded in Hudson, New York, taking place in Basilica Hudson, a converted factory close to the town’s Amtrak station. Organized by a savvy quartet — Pitchfork’s Brandon Stosuy, Brian DeRan, Tony Stone, and ex-Hole member Melissa auf der Maur — SoundScape brought together everything from experimental electronica (Tim Hecker) to raw punk (White Lung) and unexpected instrumental ensembles. Behind the stage itself, a massive textile painting by Sterling Ruby served as a performance backdrop. The venue was never overcrowded, with a side bar area decked out as a sort of cozily vintage cabin, decorated with paintings by Jim Krewson (including one depicting the Hudson Valley’s own Marina Abramovic, dressed as a Home Depot “Employee of the Month.”) (Clockwise from top left): A dance performance by Helene Lesterlin and Jack Magai at Groundswell, "Marina Abramovic as Home Depot Employee of the Month" by Jim Krewson, and performances by Endless Boogie and Deafhaven / Photos by: Scott Indrisek Friday and Saturday evening were packed with highlights and only the occasional misstep (New York’s Endless Boogie, who never rise above the level of any-bar-band-ever). Things got pleasantly weird beginning with the many-membered Gamelan Dharma Swara orchestra, who conjured a repetitive, mesmerizing lull that was periodically ruptured by spasms of dissonance (imagine someone trying to hypnotize you and then, right before you go under, throwing a cold beer in your face. In a good way). Tim Hecker followed, turning up the intensity and the volume — this is a man, after all, responsible for a track called “Incense at Abu Ghraib.” This is electronic music you don’t dance to so much as shiver along with, your very bones twanging with the bass; I haven’t been so concerned about a performance’s effect on my physical health since I last saw My Bloody Valentine, and Hecker’s set was somehow even more viscerally confrontational. (An especially resounding frequency during the final track found audience members nervously looking at their neighbors, perhaps for confirmation that the world was not actually ripping apart at its seams.) Saturday’s programming veered more toward rock and metal, but also included a fairly low-key performance by Majical Cloudz that ended up being my personal favorite of the weekend. Front man Devon Welsh opened with an a cappella version of “This Is Magic,” his voice an amalgam of influences — Morrissey, Xiu Xiu’s Jamie Stewart, the eternally earnest Brendan Fowler — and his stage presence decidedly David Byrnian. Majical Cloudz’s set — in a darkened side room of Basilica, before a mostly seated audience — was pared down and heartbreaking, melodramatic without ever veering into embarrassing emo histrionics. From there, things got more chaotic on the main stage, with Vancouver-based White Lung shredding through many of the songs on their recent “Deep Fantasy,” front woman Mish Way a slinkily intimidating presence in red lipstick and a transparent dress. They were followed by Deafheaven, an anthemic and atmospheric metal band under the helm of singer George Clarke, who strutted and shrieked like some sex-kitten embodiment of Ian Curtis. Swans — lumbering and loud, their reputation cemented by glowing praise via Pitchfork in recent years — closed out the evening before the crowd decamped for an official afterparty at Half Moon, a lovable dive just up the street. SoundScape’s programming was also augmented by an unrelated satellite event, Groundswell, which took part on Saturday at Olana, Frederic Church’s well-preserved mountain hideaway. Sculptural installations were staged in the woods and alongside hiking trails, culminating with a William Basinski performance against the very backdrop that had inspired the Hudson River School of painters. It was a nice addition to a weekend of art, culture, and small-town revelry, and a fitting companion to a music festival that values genuine experience over profits. Published: September 15, 2014 Read full article here

London, Ontario
Language Undefined Location Website: http://www.gibsongallery.comLocation Email: michael@gibsongallery.comDisplay: Don't displayUse alternative description in place of "Hours" (Edit text below): Directions: Address: Neighborhood: Union SquareLocation Phone: Admissions: Collections: Has Cafe: Has Store: Has Film: Is Free Listing: Opening Hours Alternative Text: location fax: Guide Landing page: Region on the Guide Landing page: None Read full article here

New York
Language Undefined Location Website: http://www.derekeller.comDisplay: Don't displayUse alternative description in place of "Hours" (Edit text below): Directions: Address: Javascript is required to view this map.Neighborhood: ChelseaLocation Phone: +1 212 206 6411:primary; +1 212 206 6977:faxAdmissions: Collections: Has Cafe: Has Store: Has Film: Is Free Listing: Opening Hours Alternative Text: Tuesday to Saturday 11AM to 6PMlocation fax: Guide Landing page: Region on the Guide Landing page: None Read full article here

Jiří Kovanda at Fondazione Morra Greco
Artist: Jiří Kovanda Venue: Fondazione Morra Greco, Naples Exhibition Title: Above Our Heads Date: June 12 – September 13, 2014 Click here to view slideshow Full gallery of images, press release and link available after the jump. Images: Images courtesy of Fondazione Morra Greco, Naples Press Release: The work of Jiří Kovanda has an extremely elusive, minimalist quality […]Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today. Read full article here

Slideshow: Art Rio 2014 Highlights
Language English Featured: 0Order: 0Author(s): Eric BryantSub-Channels: FairsShort Title : Art Rio 2014 Highlights Read full article here

Matisse Breaks Tate Record, DC Public Art Provokes Protest, and More
Matisse Breaks Tate Record, DC Public Art Provokes Protest, and More— Matisse Breaks Tate Record: More than 560,000 people visited the Tate’s show of Matisse’s cut-outs since it opened in April, making it the museum’s biggest blockbuster ever. “The fact that the works have not been brought together for 40 years captured people’s imaginations,” Tate director Nicholas Serota said. The show is slated to travel to MoMA next and will open on October 12. [BBC] — DC Public Art Provokes Protest: After residents complained, an installation by Abigail DeVille inspired by the Great Migration is being removed from DC’s 5x5 public arts festival. “It’s one of our main thoroughfares, and people walk down the street and look through the window and see what appears to be junk. It’s embarrassing,” explained DC Council member Marion Barry. At least locals can feel somewhat comforted that the artwork wasn’t an anatomically correct (and visibly aroused) statue of Satan, as appeared on the streets of Vancouver of last Wednesday — and was also promptly removed. [Washington Post, BuzzFeed] — Anselm Kiefer’s Massive Studio: To celebrate Anselm Kiefer’s upcoming exhibition at the Royal Academy, the Guardian’s Michael Prodger visited the artist’s 200-acre studio in the south of France. There, he saw underground temples and sky-high stacks of shipping containers and cavernous rooms lined with lead, the entire place essentially one enormous artwork. “Metaphysics and megalomania are mixed on a daunting scale,” Prodger writes, “and the effect is overwhelming.” [The Guardian] — Madison Square Park Gets Giant Craggs: Tony Cragg is the next artist to participate in Mad. Sq. Art’s park programming, with several 22-foot-tall works that weigh in at 8,000 to 10,000 pounds. [NYT] — West Coast Art Goes East: Christopher Knight writes about the eastward expansion of LA’s art scene. [LAT] — Jed Perl Reviews Koons: “That Koons will be Koons is his own business. That he has had his way with the art world is everybody’s business. No wonder the people in the galleries at the Whitney look a little dazed. The Koons cult has triumphed.” [NYRB] — Shanghai’s SH Contemporary opened somewhat empty with a notable percentage of the art held up at customs. [ArtNet] — RIP Rita Castleman, a curator who spent 30 years at MoMA building its impressive collection of prints. [NYT]     — Film director Wong Kar Wai has been tapped to direct the Met Costume Institute’s forthcoming show about China’s influence on the arts. [ArtNet]   ALSO ON ARTINFO Newsmaker: Photographer and Writer Moyra Davey Introducing Gamaliel Rodriguez Danh Vo Responds to Bert Kreuk Lawsuit Eyebeam Names Fall/Winter Residents Check our blog IN THE AIR for breaking news throughout the day.   Published: September 15, 2014 Read full article here

Hou Hsiao-hsien at the Museum of the Moving Image
The Taiwanese film director Hou Hsiao-hsien, whose films detail the micro and macro complexities of his country’s history, is the subject of a massive and comprehensive retrospective at the Museum of the Moving Image, running now through October 17. Born in Guangdong, China in 1947, Hou left the country as an infant as fighting resumed in the Chinese Civil War. Landing in Taiwan, he would become a major figurehead of the country’s cinematic new wave in the early 1980s, which combined personal stories of displacement with historical examination and critique. Much of his work has been nearly impossible to see in the United States for many years. Only in the last decade, when some of his most recent films began to receive miniscule theatrical and DVD releases, was he fully appreciated by the larger critical community in this country, despite already being an active presence on the film festival circuit. But just as quickly, Hou’s work has been misunderstood. Or rather, at a time when his films could have grown in popularity, they were reduced to the laziest of simplicities: they are slow, too long, boring. The writer Dan Kois, in a ridiculous piece for the New York Times Magazine in 2011, lumped the director in with Tarkovsky, Edward Yang, and others as filmmakers who, despite feeling that their work is worth seeing, he is giving up on because he just doesn’t get what they’re doing. To watch their films is akin to eating disgusting “cultural vegetables,” his reasoning goes. A simple survey of Hou’s films displays how wrongheaded this way of thinking about his work can be. From his earliest autobiographical epics to the more recent present-day whispers, the work is anything but stilted or traditional. Despite their veneer of minimalism and lack of histrionics — and his films can be slow and boring, but why can’t we strip these terms of their negative connotations when talking about art? — Hou’s films are all about movement. He invokes the long-take, often moving the camera through a host of different compositions before cutting. But when his camera is still, or the movement is hushed and gentle, is where Hou’s films come alive. When the camera is still the action inside the frame is alive, as characters move in and out and across the frame, changing the way we look at the scene. This subtly gives the impression that Hou’s films are bound by stillness when they are actually quite kinetic. Precision is confused with tedium. Movement is also seen in the narrative structure of his work. “A Time to Live and a Time to Die” (October 3), one of his earliest masterpieces, stretches over a long period of time, tracing the life of the main character from adolescence through adulthood. “The Puppetmaster” (September 13) displays movement via multiple narrative lines — the main story, which jumps many years; the narration, spoken from the present; and real life monologues from the main character the story is based on. In recent years, Hou’s work has become even more reserved. He has moved away from the personal meditations on Taiwan’s maze-like history, making the Ozu-tribute “Café Lumière” (September 26) in Tokyo and a remake of “Flight of the Red Balloon” (September 28) in Paris. As part of the series, the museum will be screening two films in which Hou did not direct but played a part, behind or in front of the camera, in their production: Jia Zhangke’s “I Wish I Knew” (October 17) and Edward Yang’s “Taipei Story” (September 21).  Hou Hsiao-hsien at the Museum of the Moving ImageSelect Photo Gallery: Slideshow: Hou Hsiao-hsien Retrospective at the Museum of the Moving ImagePublished: September 15, 2014 Read full article here

Dan Finsel at CAPC Bordeaux
Artist: Dan Finsel Venue: CAPC Bordeaux Exhibition Title: Becoming Her, for Him, for He: Becoming Him, for Her, for She (Becoming Me, for Me, for Me Curated by: Alexis Vaillant Date: June 26 – September 21, 2014 Click here to view slideshow Full gallery of images, press release and link available after the jump. Images: Images courtesy of […]Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today. Read full article here

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