New category under “NOW”: “Prostitutes”, Kurt Weill, Brassai, and a promised but never happening project with H.I.P.S. Washington, D.C.
March 11, 2014
Since a while now I had this planned, and tonight’s the night: dragged out my girls from 2008 and went to work with them, particularly Rosie and Suzie.
I created them in a phase when I was listening non-stop (for weeks) to Kurt Weill, at the same time I also started a still lasting Brassai-fascination, so these images have something of all that and then some. (Although Brassai, thanks to the merci of time passed, by now has a sort of touching vintage-feel to it, and it somehow all doesn’t seem so grim:)
Brassai – Gyula Halász “4 Paris images”
They have also a bit of Nan Golding in them, which is good, as there is nothing cute about prostitution, and the reason why the topic seems acute right these days is certainly because I finally had the courage to tell a fantastically pompous gallerist off, who expressed potential interest in working with me, but his nature was that kind that I would get stomach ache every time a day before each meeting with him, so that’s certainly no good in the long run. Honestly, I just couldn’t do it any longer, although the poor man certainly did do no more than simply sport an incredible attitude, nothing worse than that, not that you get the wrong impression. But these are the people in power and if they feel like it and choose to say “jump!” we better ask “how high?” and I guess I could’t take it any more. So I told him it’s not going to happen. Consequently now I will starve, obviously. (Well, let’s hope not… this is really an exceptional case!) So far my personal connection to ‘prostitution’.
Originally, in 2013 after the “Each reflection”-project I had hoped to do a similar interview project with sex workers form H.I.P.S. Washington, D.C., http://hips.org/
But without explanation despite the fact that before Christmas all had been enthusiastically agreed to after Christmas the lady in charge was no more reachable for me, nor was I given any explanation of a reason for that, so I had to conclude for some reason the interest in this project had drastically faded. Oh well, such is life. Perhaps another time.
You can view them right here:
and read what’s there to say about it.
ARC Show “Fractured Yet Rising” – some more pics and thoughts about short dresses and guys in art shows about violence against women
March 9, 2014
A few more pics from the ARC show-opening “Fractures Yet Rising” against violence against women, I took plenty, but I think you should go and see it.
It is really nice show, although I was a little worried it might be too cliche, it wasn’t at all.
If you happen to be in the Chicago area it is up until end on the month: http://www.chicagogallerynews.com/calendar/fractured-yet-rising
Iris Goldstein & project partner /ARC show “cartoon characters” (2014)
Pippa’s flakes are right here, maybe you recall them from the animated mini-project we tried a couple of weeks ago:
Pippa Arend /ARC show “Flakes” (2014)
and then there was this:
ARC show – altar with an old guy and a young woman, photo: Josiane Keller (2014)
Perhaps you noticed on the BLOG entry before I was wearing a daringly short dress for that opening? And I certainly wan not the only one with that thought and matching outfit, after all this was a show about empowering and re-empowering.
Now this very guy who so interested reads the description going with the votive-candle piece had the great idea to brush up against me.
That can happen at a crowded opening, you might say. True. But picture this: you are in a gallery, surrounded by artwork about rape, battering, all sorts of violence against woman, some very direct, others more between the lines, and plenty of talk about it all. Wouldn’t you think a man reading all these I guess one could say accusing texts would be more careful and at least say “I am sorry!” I would.
So interesting that I heard other complaints like that from other girls during that evening.
Guys, you are not only a pain in the ass, you are also a joke of nature. Oh well.
So far this show, as said, it is up til end of the month, go if yo are around, it is a very interesting show, glad I am taking part in it.
ARC Gallery Chicago – Fractured Yet Rising – show, some first pics: Usagi-chan in action and Grace Needlman “The Wise Woman of Cordoba”
March 8, 2014
In Chicago doing other things than writing BLOG, so just super-quickly some fist pictures of the Fractured Yet Rising opening at ARC Gallery (I will put more later).
Here “Usagi-chan in action”:
Josiane Keller “I don’t need these anymore” (2014)
I loved this piece by Grace Needlman “The Wise Woman of Cordoba”, a big ship drawn with charcoal onto the wall, once could add to it, read the description:
Josiane Keller “ARC GAllery – Fractured yet Rising-show – Grace Needlman – The Wise Woman of Cordoba” (2014)
Josiane Keller “ARC Gallery – Fractured Yet Rising-show” (2014)
Here is the link to her site: http://www.graceneedlman.com/
“COLLECTIVE EXODUS INTO THE BOREDOM OF A TOILETWALL: selfXPRESSION IS OUR next to last CURRENCY A DOG’S PISS MARK LOL” – why Olafur Eliasson and Ai WeiWei’s project MOONMOONMOONMOON.com is total bullshit, a Daido Moriyama picture (one more!), more on a herd of galloping horses and video “DUST POETRY” by media artist Nan Wang
March 6, 2014
Artists Olafur Eliasson http://www.olafureliasson.net/exhibitions/your_emotional_future.html
and Ai WeiWei http://aiweiwei.com/
were combined despite physical distance in intellectual harmony by curator Marcello Pisu http://marcellopisu.com/
in the interactive virtual project MOONMOONMOONMOON.com
What it says it wants is this:
“The instant a touch is made, things are set in motion. Make a drawing to reach out and be touched. Drawing together we are drawn together. This is how we make a difference in the world, on micro and macro levels, individually and collectively. Touch the moon by drawing on it – a vision, doodle, statement, a greeting, thought. . . your drawing is a hinge between you, everyone else, and the universe.
By connecting in spaces for imagination – by determining what to share and how to share it – we can create a greater outcome. Through messages and non-verbal communication, in a language unique to each person, the collective work becomes a testament to personal freedom, creativity, and activity.
Celebrate with us the gathering of creative powers from around the globe to mark the passage from nothing to something and from thinking into doing. Savour this moment of transformation. Leave your fingerprint and see the shared moon grow as others reach out too. Let’s show the world that together our marks matter. Creativity defies boundaries.
Ideas, wind, and air no one can stop.
Ai Weiwei and Olafur Eliasson”
We have a black and white design of a more or less (more less than more thanks to crappy perspective) assumed ball-shaped white circle. With some imagination and support of association from the title we conclude: Aha! There it sis: the moon!” It rotates. Have you ever come across these opening pages of some children book illustrators or designers with Martha Stewart-taste who think it makes their stuff look somehow better if it is difficult to enter the website by having little creatures fly all over the opening page, and you have to chase them and click on the, but they move away when you come near them? So this imaginary “moon” moves like that.
And now: doodle everybody! Spread the wisdom!
But wait, not so fast. To hail world piece and the irrepressible freedom of mind (‘mind’ being marketed as = intelligence. which is my first complaint, not everybody who has a more or less functioning mind is blessed with intelligence, and freedom, another association with everything where Ai WeiWei has something to do with) first you have to set up an account.
Yes, there will be cookies. That collect not only data of what wisdom you spread on this imaginary moon. The cookies, as cookies do will collect data from everything you look at online.
This is in my European eyes the OPPOSITE of freedom of mind and I would not be at all surprised if this project has stocks and Mr. Zuckerberg owns plenty of them.
However, let’s for one moment not concentrate on the ridiculous and scary irony of how this project is being marketed and what it is reality does.
Let’s play a good sport and participate. Now let’s have a look what the suppressed intelligence of people all over the world has to secretly lure through a hole in evil intelligence suppression, so we can anyways read it at any time and anywhere… Gosh, I feel just like Lady Marian climbing in disguise over the castle walls and galloping towards Sherwood Forest, fighting evil suppression with the pure outcast brotherhood.
Let’s see… so here is one: “I loved you from the moment we met.”, “FREE SYRIA” is another. “Hanni”, “I have a ping [possibly it reads 'Ding'] of 6co [possibly reads '600'] in cs:s”
I give you a short break to meditate on that for a while before we continue.
There are doodles, some cryptic. “I want to be like you.” , a link address to a site in Chile, which is against the rules btw, but finally here some real wisdom, as far as one can expect it from a project like this:
“COLLECTIVE EXODUS INTO THE BOREDOM OF A TOILETWALL: selfXPRESSION IS OUR next to last CURRENCY A DOG’S PISS MARK LOL”
What do we learn from looking at this project? Once again, being an artist requires a fundamental training, when looking at contemporary art in philosophy. Same as in any other profession you better get a decent training. I admit there are here and there people who anyways think that way without having gone through the official training, although if you did a little deeper in such cases you will probably usually find out that these people are reading three books on philosophy in a week and have done so since they are about ten years old or in other ways have educated themselves or were raised in an artist household or God knows what plenty of exposure they had.
And I also admit even with training the outcome varies and there is not guarantee just because you have two degrees in conceptual art you are able to make mind-boggling work.
But having said all this, please, not everyone is an artist and not everyone is able to give off something what is en enrichment to mankind if accumulated on a website, besides the fact that apart from visual design the moon-project is doing nothing else from what any other social network does, see above, I assume you can purchase stocks on it for exactly that reason, data collection is valuable to some.
FAZIT: I am definitely disappointed, as I had hoped for something really cool coming out of this collaboration, and this is total bullshit and please reconsider and do better next time, guys!
I so far really liked Ei WeiWei’s work (sunflower seeds!), same as the rest of the world, and am a bit unsure if I like Olafur Eliasson’s work (sunsets?), but this moon thing I do not like although it is very ironic for many reasons and that bit is perhaps interesting.
Back to real good art, here one more wonderful photograph of Daido Moriyama (because one can never see enough Daido Moriyama photographs!):
Daido Moriyama “Hatano-Kanagawa” (1964)
Back to the herd of horses. I finished one clip last night, which was crazy. I am using the Sallies, and it is hard enough to get them going to make it looks we have a 16 horses galloping in a rectangle. For this clip, which is part of “I anyways live until I die” I am trying to create the illusion of a random amount of horses a galloping in a herd; initially four, and then two come later (yes yes, always them slow ones in the end…!), I probably will need to make more footage today, trying perhaps another angle. Anyways, so four randomly galloping horse, trying to overtake each other and what else horses might do running across a field, that requires a great deal of counting, if it is not real actual horses but figures from clay.
I should give you some pictures as illustration of what I am taking about, I guess:
Josiane Keller “herd of horses running – test pics” (2014)
I might need to fiddle a bit on the contrast, but so much as a peek picture.
* thirteen hours later I realize I need to re-do the footage, although the horses were great the light was impossible (not enough contrast no matter what) and I need to come up with better light, or a dark background or black horses or ….. ?
Terribly annoying, but I try my best to tell myself I need to put it down to experience and it is certainly not the first time.
Meanwhile I came across a video by Chinese media artist Nan Wang currently based in Rotterdam where she studied on the MA Media Design and Communication course at the Piet Zwart Institue, Rotterdam, Holland;
the film is called DUST POETRY, and it is a funny coincidence that there are some parallels to the MOON project, visually, and then to imagine all the tiny little dust specs are more or less brainless comments by bored people playing on the internet, does that contribute or take a way from the very poetic and beautiful piece?
here is the link to her site: http://nanwang.org/
March 5, 2014
At last I got going on these herd of horses running.
Very tricky. For starters a shredder misplaces and plugged in in my studio crushed on one of them, so I had to run out get superglue and fix a broken leg and that also means I have to re-do that one for later one, for now test footage it is OK.
This time it being a whole herd of horses the counting behind a gallop sequence is insane, no way to be compared with the single Sallie as she was running nicely in a rectangle, this is flaming lunacy but I am right smack in the middle so there is only one way out and that is forwards.
Test photos later on, for now pray that nothing else crushes on my horses here and I get this bloody footage completed.
An Interview with Nobuyoshi Araki by Hyewon Yi “Crossing Boundaries” and the morals of nude clay figures
March 5, 2014
In connection with showing my images of Milli and E. a friend of mine from Vienna suggested an Austrian photographer. I didn’t know of her so far and did not find her interesting nor did I see the connection (besides the passport, and that a camera is involved) to my work, which is also the reason why I won’t put the link up here; instead I explained the topic behind is way more erotic but also questioning human identity and my own personal identity looking at ourselves as sexual beings.
I see a contextual connection between my work and Japanese photographer Nobuyoshi Araki instead, and told her so. I started wondering if she will be shocked, when she reads it, and about culturally based difference in moral applied to imagery. As far as I can say in Austria the general public besides the art world might experience Araki’s photography objectifying, sexist and therefor respectless. I found it interesting that whilst I am fiercely against any chauvinist attitude where I believe to see it I have absolutely no problem with Araki’s photographs, maybe not only by being an artist, but by living in Europe, US and Japan. Of course not just location and cultural context but also time change how an image is being perceived by the audience.
I came across this article from 2011 and am posting it here to read:
Josiane Keller “Milli leaning forwards” (2014)
Josiane Keller “street scene – E.” (2014)
What is interesting is that I (obviously) do not use actual people here, but small scale figures from clay. Still morals are being discussed. Funny. Strange life.
A beautiful photo of Casey Jenkins by Tarzan JungleQueen, some older pictures on horses, a show on David Lynch’s photographs and an interview with him, four new ones on women and loads of Nobuyoshi Araki (as there can never be enough Nobuyoshi Araki photographs), dolls like people and people like dolls
March 5, 2014
First of all, simply because I got it to share the bliss, here a really gorgeous picture taken by Tarzan JungleQueen of the lovely Casey Jenkins:
Tarzan JungleQueen “Casey Jenkins” (2014)
Here the link to her photos on her developing facebook page: https://www.facebook.com/tarz.mcdonald/photos
and then, after making that photography portfolio and since I am now working on the horse footage, the already plenty of times shown “Fair Pony painted” and some other pics from that series:
Josiane Keller “Fair Pony painted” (2012)
Josiane Keller “Fair Pony painted 2″ (2012)
Josiane Keller “Fair Pony – bw version” (2012)
Josiane Keller “Sparklehorse – Radio Sessions” (date unknown*)
*I could not find out if this pictures was actually taken by David Lynch who worked with Sparklehorse, or only one like it, neither the exact date, if you know more by all means share the bliss of wisdom!
By the way, David Lynch’s photo exhibition “Small Stories” is still up until 16th March at the “Maison Européenne de la Photographie”:
and an interview with him, accordingly with Henry Chapier:
Daido Moriyama “Dosanko – Hokkaido Horse” (2009)
Here once again (and a tic larger to look at) the “Milli leanings forwards” shot. The figure origins from a period in 2008. I was listening obsessively to Kurt Weill’s “3 Penny Opera” and was completely programmed to German Expressionism. Obviously this figure is much more abstract than the ones for the “Each reflection”- project. What I found interesting is that it works very well for an erotic shot and that makes me think about to what extent can we make an image abstract and it still works as an erotic shot?
Josiane Keller “Milli leaning forwards” (2014)
Reminded me of this famous shot by Kertesz, http://www.icp.org/museum/exhibitions/andre-kertesz
Andre Kertesz “Satiric Dancer” (1926)
and more or less any third nude shot by Nobuyoshi Araki*, and if you know his work you know that means MANY, very many! :
*in all his faun-nesque ways I find him fabulous, so there will be many of his to look at, and here is his site:
And then I took this one of a figure with the the name, well, let’s call her E. – out of discretion:
Josiane Keller “street scene – E.” (2014)
Josiane Keller “street scene – E.” (2014)
To be even more discrete, let’s blacken out her eyes on this shot:
Josiane Keller “street scene – E. at work” (2014)
close-up, which should be on a huge billboard, I think:
Josiane Keller “street scene – E. close-up” (2014)
and once more Nobuyoshi Araki, dolls like people ad people like dolls:
a very nymphette Yoko Ono:
Nobuyoshi Araki “Yoko” (1964)
So far these, going to bed, more thinking and working on this all tomorrow!
Portfolio was finished in the early morning hours, sent and here you can see it: 8 photos and back-up images (some of them prophetic photographs) in scroll form I and II, how long is the space on the internet? and scrolls like a film
March 3, 2014
As you can read in the headline, it is done and sent.
What? The portfolio I have been working on, showing the evolution of my photographs (in only minimalist amount of images, if you want more, easy: scroll backwards on this BLOG!), references* and future plans.
*When I say “references” I mean images I may have seen before I made mine, but very often found AFTER I made mine and they correspond. A ‘prophetic photograph’ so to speak. It seems to happen frequently, at least to me, that I create an image that is already there so to speak without having seen it before. C.G. Jung has an explanation for that, communal memory, and that works well for me. It never bothered me, besides the entertaining effect and sadly so it rarely has any real deeper meaning, so I take it as it is.
Anyways, please look at the pictures. I put this up in scroll form. Something I have been thinking about, how long is the space on the internet? Can I occupy a lot of space with a very long scroll image?
Josiane Keller “eight photos and back-up images – scroll” (2012-14)
*I will put the titles and author where it wasn’t me up, but honestly guys, as silly as it sounds, I have not eaten since something like 18 hours (can that be?) but worked almost all night through, so I will take a break now and do it later! Sorry!
**(…) Ahh, I need to work more on this, this is too small. BUT NOW SOME FOOD!
Back and here what I had in mind, let’s hope it works, scroll II:
Josiane Keller “eight photographs and back-up images – scroll II” (2012-14)
HA!!! Hurrah, it works! There. Like a film! oh wonders of the internet!
March 2, 2014
I am still working on my portfolio Nr. XYZ… but meanwhile here a great interview with photographer William Klein where he says he made “New York look like shite” to the horrors of NY publishers, which reminds me of a discussion I had with a posh hipster kid from Berlin in 2004, complaining about the horrors of America and he told me he had been two weeks on vacation in New York and he had really liked it. Well, 2 weeks vacation is its own thing.
So here the interview for TATE Modern from 2012:
And then I came across a beautiful BLOG where someone Cameron Snow seemingly random (?) puts tons and tons of amazing, partially very famous photographs up and he has access to large formats as well, God knows, anyways I am happy I found it so I decided sharing the love and also borrowed some images from there as well:
Blade Runner is anyways fabulous, so here a great shot from the set:
Unknown photographer “Director Ridley Scott with Harrison Ford, Blade Runner” (1982)
An absolutely wonderful, WONDERFUL image by Nobuyoshi Araki, friggin’ gorgeous:
Germaine Krull “Berthe Krull naked with a mask” (1923)
Daido Moriyama “Record No. 19, Italy” (2010)
Seems a man with these bony legs and hips, interesting, more so interesting if compared with this one below:
Gustave Courbet “L’Origine du monde” (1866)
And back to work…! Later more.
March 1, 2014
LACMA had a Moriyama Daido photoshow in 2012, if you have missed it you can still read about it here, I picked that article out because it mentions his “are, bure, boke” (Jap. ‘grainy, blurry, out-of-focus‘) theory:
” (…) Fracture: Daido Moriyama presents a range of the artist’s black-and-white photographs, exemplifying the radical aesthetic of are, bure, boke (grainy, blurry, out-of-focus), as well as the debut of recent color work taken in Tokyo. A selection of his photo books—Moriyama has published more than forty to date—highlights the artist’s experiments with reproduction media and the transformative possibilities of the printed page. Moriyama’s achievements convey the artist’s boldly intuitive exploration of urban mystery, memory, and photographic invention. (…) “
Daido Moriyama “Shinjuku #11″ (2000)
Meanwhile you look and read I keep working on my portfolio…
March 1, 2014
Nothing is an clarifying as writing occasionally statements of intent (automatically part of any more extensive application), so here is my actual update on this, you can read if you have time and nerve to do so, and no enlightening images with it today, as writing a brick like this and polishing it to be nice and shiny takes time:
I am working with staged photography as well as experimental animation based on my photography. I am since childhood on strongly near-sighted as well as face-blind and am interested in human visual perception as well as visual memory.
For my images I create small scale models from ceramics. I am not interested in creating a perfect reproduction of the reality but to what extent it is possible to say the same thing using these obvious models for a person, animal or plants in a photograph /film as using photographs /films of the actual world, that means finding out what are the basic essentials we need to understand for instance a young woman’s face as such so it works as a vehicle to trigger a certain emotion in us. This contains also concerns of doll play and puppetry.
In this way I create photographs /films that are also “symbols of photographs /films” of friends, celebrities or interesting animals.
I developed this style of work originally based on the wish to create figures from ceramic, but not for the sake of creating a tangible 3D object and marketing these, where I felt the emphasis is often placed on technical aspects of a piece as well as its physical qualities, which takes away from an underlying philosophical content as well as a different aesthetic that I am looking for.
I noticed that most 3D figures are generally not seen, judged and experienced in their actual three dimensions, but instead often in 2D photographic versions of it, such as in catalogs, magazines or online. The image usually shows a favorable angle and light, and in case of a group of objects the most interesting set up is chosen. I felt often an image of the object is more interesting than the actual object.
I started to think about the difference between a 3D image and a 2D image and decided to remove aspects from my 3D ceramic objects that I found were distracting because overloaded with information I found irrelevant, the most important quality being the third dimension. I solved this by taking photographs of my objects and showing and marketing those instead of the objects themselves which ultimately became a byproduct in the sense like an actor in a certain role becomes a no longer used although very essential “byproduct” of a film after its completion.
The use of models I make myself in my images turns my photography into staged images which are created in the same way like paintings, since I have to pre-plan them to a great extent.
Other qualities I question are use of color as well as focus. Already in context with my painting and teaching painting I had done research on these. I noticed that to a great extent our memorized visual information of our surrounding is not concentrating on our actual experience but instead based on learned second-hand information, mainly from an overload of photographic images photographs we use in our daily communication and orientation.
The photographs do not accurately represent the human visual perception because we do not see colors and perspective same as the camera depicts them on film, also we don’t see every detail in focus or in whole, instead in reality we see many things blurry, at the edges of our peripheral vision, and only cut off details. These photos looks unreal because when talking to an actual person we rarely would stare at the person’s physical surface detail by detail but depending on situation and social status would either keep or avoid eye contact or get distracted by other items visible to us which we rather focus on so we see the rest of the person out of focus, in close-up or only details.
But the massive amount of visual information from photographs has caused a false visual memory in us that has caused an intellectualization of our actual experience of how we really see images. I am interested in creating images that try to be more true to the actual human visual perception but at the same time they also have a surreal quality to them. I am currently mainly working with digital cameras.
With the same intentions I also create experimental stop-motion animation, mainly also from self-made ceramic models of people or animals. The medium stop-motion allows me to work extensively with light and creating an illusion of depth using small a self made light box, where I use a self-developed light system with various colored bulbs. In contrast to these I also use images of silhouettes created on overhead projectors. Film also allows me to create atmospheres through the element of rhythm in terms of the speed or arrangement of a succession of single frames and their duration. An added option is sound as well as spoken human language in its any forms.
There is additional option of making the films interactive by being projected onto a large cinematic screen or a wall in a closed otherwise dark room. The effect gets lost when viewing the films on a small computer screen.
I often then take selected still photos out of my animated films and show these as single photographs, so my photographs and my films feed off each other.
So more or less something like this at this moment in time. More soon!
Very kind words about my work from Simon Pummell (director of “Shock Head Soul”) and Philip Glass’ recommendation not to care about what people say
February 28, 2014
I had at some point sent some links to Simon Pummell, who directed Shock Head Soul http://www.pummell.com/?C=15
Simon Pummell “Shock Head Soul” (2011)
trailer here: http://www.youtube.com/watch?v=swjaoRJhnck
I was just having my bold five minutes I guess.
But the kind man apparently took the time to look at my clips from “I anyways live until I die” and was even nice to reply to me with the following to me highly encouraging words:
“ Hello Jo
I watched your work and though they are quite minimalist they are definitely animation !!
You should carry on developing your own language and style. I enjoyed looking at the work on your website.
Good Luck !!
Ohhhhhhh, this is soooo nice. In an ocean of arrogance and mis-applied snootiness this is just the thing to slap me in the right way the way I needed to be slapped I guess.
Since he is currently also the course leader in Rotterdam at the Piet Zwart Institute of the MA Media Design and Communication (http://pzwart.nl/nl/courses/mmdc/Staff-and-Tutors/), I am now thinking maybe I could study some more right there, in lovely Rotterdam? I was there once when i still thought of myself as a dancer, they have a bloody great dance scene in Holland, and I liked it a lot out there.
For now I am encouraged and I needed that badly after so much “It’s not REAL animation”-comments from certain people.
It’s very real, guys, very, VERY real. Deal with it, or if that is easier: watch something else. (I think Philip Glass said that one about people not thinking his stuff is music enough!, ha right here: http://www.youtube.com/watch?v=lGaG5VJqgZg
So as he says, that is helping a lot, not to care what people say (*listen up Josiane!) I guess my urge to be a part of a community is a bit in the way there. Define who is “people”.
So far for now, I will get back later.
A surreal stop-motion animation by Václav Švankmajer – Svetlonos /The Torchbearer and a snow photo by Daido Moriyama
February 27, 2014
Well, Jan and Eva Švankmajer have a son, Václav Švankmajer, and he too is a surrealist, although maybe I still prefer dad’s style.
But for completion here a surreal stop-motion animation made by him, this is his homepage:
and here the link to the full film, which has an underlying Aztec philosophy to it, I find, but not uninteresting:
And since it started snowing again, a wonderful, wonderful photograph by Daido Moriyama, although I have no exact date from when it is, it is very ‘Yuki-Onna’:
February 26, 2014
Brrr, I should take a shower from all the trauma of these days, but there is no time.
So back to the film I was working on. Next scene, running horses.
Test pics here:
Josiane Keller “two horses” (2014)
Josiane Keller “two horses 2″ (2014)
Something like that, but then different.
Brief interlude: “Was wollen Sie von mir?” – a final sculpture and hopefully finally we can forget about it now and move on… – hang on: and a brief video clip about the group “Art Movement” where you can see maestro Jan Svankmajer put some clay chicken legs on a photo of himself and other weird stuff (that’s ‘surrealism’, baby!)
February 26, 2014
The de-eared figures were still haunting me, obviously, and so I finally made them into the sculpture “Was wollen Sie von mir?”, with the use of a lot of concrete. (Concrete can solve so many issues in one’s life!) Hopefully this transformation is setting them free, and me too, and I can move on.
Josiane Keller “Was wollen Sie von mir?” (drying, 2012-14)
Incredibly baroque, don’t you think?, but that’s fine (this time), I am Austrian after all, its in my blood. This would also be a fabulous wedding cake as is, well in sugar I mean. I find it essential to make things each for its ideal purpose. This should best be eaten and the fact that one can’t eat it being from clay and concrete is certainly a mis-choice of material.
*The title btw. translates to “What do you want from me?”
Back to photography and animated film!
STOP: the video with Jan Svankmajer helping set up a surrealism-show in Prague: https://vimeo.com/37965809
(Hmm, look again at “Was wollen Sie von mir?“)
Sending “I don’t need these anymore” to Chicago, experimental animation, making a photo portfolio and fixing some at first uninteresting pictures, that now are at least messy
February 25, 2014
Most of the morning I spent re-checking yesterday neatly (?) packed animation equipment and sending it off to Chicago, which is mainly pricy, so let’s not talk about it anymore. Somehow my films so far seem to do better in gallery shows than at film festivals, but since I just started maybe I am barking up the wrong tree. I realized already one thing: my films go into the category “experimental animation”. Is’t it reassuring to know which one is my pigeonhole? Oh well…
And the other part of the day I spent with my expensive printer, making it work again and then using it to adding to the photography portfolio I will have to present to a certain gallerist tomorrow.
And doing so I organized some older images and played around with those from the weekend I was so unhappy with, looks like this, wait, these first two are from today:
Josiane Keller “ghosts” (2014)
Josiane Keller “black stars in a bright sky” (2014)
this one is from weekend:
Josiane Keller “tadpole” (2014)
and these are the tacky ones poshed up:
Josiane Keller “glasses” (2014)
Josiane Keller “not couple” (2014)
Interesting to play around with this and now I can at least say they are messy. Some people do that extensively, but I think I find other techniques more appealing to me.
So far this, I am done for tonight and wish me luck for tomorrow!
New so-so-photos and two good ones, finally Allison Schulnik and her EXPERIMENTAL animation (!!!), an amazing squid animation from MOME students in Budapest, and then also an interesting clip about pottery x animation
February 23, 2014
I took a couple more pictures, added them to the new “Photo”-category and then took them off again, feeling they are only so-so, but maybe I will think a bit more about them, so I want to post them here for just the thinking option…
...this one was action not just so-so, this one made it in the gallery of fame:
Josiane Keller “space” (2014)
but these didn’t:
Josiane Keller “gate” (2014)
Josiane Keller “screen” (2014)
Josiane Keller “Otohime” (2014)
*and here two I had originally up, hated them, worked them over and put them up again, at least more interesting now:
*Josiane Keller “glasses” (2014)
*Josiane Keller “not couple” (2014)
These are half and half, I am not sure about them:
Josiane Keller “mount” (2013)
Josiane Keller “flower” (2014)
*and again one I wasn’t sure and worked on it:
*Josiane Keller “bulbs 2″ (2014)
And now I need to clean my printer heads which is the reason why I still can’t post about Allison Schulnik, but I will put her link to her homepage for time being, so you’ve got something to read and look at here, she paints really very beautifully:
and here I will put the link to one of her stop motion animations (she did a BA in Experimental Animation at CalArts),
this here is called “Forest”: https://vimeo.com/8748931
here an interview-video for Beautiful Decay Magazine http://beautifuldecay.com/
Here also a newer interview, actually a double interview with artist Daniel Gordon, who shows also really cool work, btw, so no harm looking at both:
And since we are talking about experimental animation, watch this most incredible squid animation by MOME Budapest animation students:
then this one which is not so dreamy and gorgeous but instead super interesting and funny:
Making a “The Making of Sallie Gardner at a Gallop 2013″ -film, getting rid of a sigh, re-firing the de-eared figures, Klara Kristalova and Allison Schulnik
February 22, 2014
Since the “Sallie” -film now is publicly viewable and still to some people very obscure I decided to make also a “The Making of Sallie Gardner at a Gallop 2013″-film, this also because there are some people who are not familiar with the reference to Eadweard Muybridge’s work and also because the fun part of this film are the many (more than 16!) clay horses, so I thought it would be nice to show that.
Here for starters Eadweard’s clip (again!) http://www.youtube.com/watch?v=UrRUDS1xbNs
Eadweard Muybridge “Sallie Gardner at a Gallop” (1878)
Which took a while making, meaning picking footage, recording, editing and uploading, but at last it’s done, and here it is:
Josiane Keller “The Making of Sallie Gardner running at a Gallop 2013″ (2014)
Oh, I almost forgot, but I thought this is weird, so working on that voice-over there are many “aaahhh’s” and “eeeehhh’s” and stuff like that, too many, so I had to clean it a bit.
Josiane Keller “a sigh, and getting rid of it” (2014)
…and I got rid of it. Just like that. Almost therapeutic.
Then I re-fired the “de-deared” figures from the “Each reflection”- project, which I painted with black underglaze and now are now more “the figures from the ‘Each reflection-project” but on their way of becoming something new:
Josiane Keller “refiring the de-eared figures” (2013)
Always looking for interesting artists that work with clay(and animation!) I want to show work by two artists who’s free approach to the medium completely blows me away: Klara Kristalova (Czech, based in Sweden) and Allison Schulnik.
Klara Kristalova has no own website but is represented with various galleries where you can see her work and I will show some here she has with various galleries, such as Alison Jaques Gallery in London, some small scale works:
Klara Kristalova “Becoming A Dog” (2009)
Klara Kristalova “Applehead seated” (2009)
Klara Kristalova “Batgirl” (2009)
or with Lehmann Maupin in NY some larger ones:
Klara Kristalova “The Sleepless” (2011)
Klara Kristalova “Shes Got a Good Head” (2010)
and a fabulous installation with a beautiful shadow in the Goteborgs Kunstmuseum, http://konstmuseum.goteborg.se/wps/portal/konstm/english:
Klara Kristalova installation view at Gotenborgs Kunstmuseum (2012/13)
and here one of her aquarells:
Klara Kristalova “O II” (2010)
and here also an interview with her via Skype in connection with her 2011 show at MOMA San Francisco “on the horrors of growing up”:
and just to tease everyone who doesn’t speak Swedish here a current one as well from a show in Uppasla at the Bror Hjorths Hus:
(* I am taking a break now, I will write about Allison Schulnik later on!)
Sallie Gardner at a Gallop 2013 runs free – now for the first time publicly viewable for all! Please forward and show all your friends!! and original film clip by Eadweard Muybridge from 1878
February 20, 2014
I got notice that apparently there will be a second screening of the International Short Film Festival in Kent, and since at the last screening were some technical hick-ups it brought be back to “Sallie” and I worked her over basically by adding my logo at the end of the film. This should prevent that the beginning of the concluding film does not seem like the end of my film…
Further, although this film, obviously, is still cruising festivals and such, I decided to make it publicly viewable, simply since I have made now plenty of films, but most of the newer and more interesting ones are all password protected, so how the hell should anybody know I am working in this media?
So, if you have not seen her run yet, now you can by clicking on this link:
Josiane Keller “Sallie Gardner at a Gallop 2013 – still” (2013)
… and you can also and please do! recommend her and forward her to all your friends, siblings, parents, aunts, uncles, teachers, students, friends, lovers and Exes, colleagues and those people that sit in cafes and talk for ages on their cell-phones doing pretend conference calls, so he too can watch something pretty and do something useful with his time.
Oh, just in case you have never seen it: here is the link to the original loop film by Eadweard Muybrigde from 1878:
And if you feel like seeing more animated films and you have not seen them yet you can check them out here:
February 20, 2014
Guys, look what I had today in my spam box:
“You really make it seem so easy with your presentation but I find this topic to be actually something that I think I would never understand.
It seems too complex and extremely broad for me. I’m looking forward for your next post, I’ll try to get the hang of it!”
That’s right, dear one, I can explain the world to you and if you still have any questions left come and I will explain that, too!
Too bad it is only spam… oh well, the glass can be either half full or half empty, right?!
A brief history of visual perception: ON VISION: new category “photography”, Akio Takamori, can we actually “see” anything in 3D, or do we see everything anyways in 2D unless we TOUCH it?, Claude Monet, Edvard Munch, Jan van Eyck, Picasso’s lightpainting, Sesshu Toyo’s Zen ink paintings, Daido Moriyama, Brothers Lumiere, blind photographer Evgen Bavcar and what do we REALLY see?
February 19, 2014
So, finally it is finished as far as of what I choose to put up: a new category on my site called “Photography”:
Why an extra category for photography if I have it already in the “NOW. …” category? Well, the point is, the “NOW. …”-category shows work that is not so easy to pidgeonhole, as it originates in doing something with ceramic figures other than just making them.
It is anyways interesting as if you look at another ceramic artist’s website you would also just see 2D images of his/her work, probably photographed from a favorite angle, and not see the pieces in 3D.
As an example I want to show you the website of ceramic artist Akio Takamori: http://akiotakamori.com/work/new-work/
Can we actually “see” anything in 3D, or do we see everything anyways in 2D unless we TOUCH it?
Josiane Keller “in the womb” (2013)
Is it “real” if we can not touch it?
Josiane Keller “mushroom” (2014)
How can we prove to at least ourselves if it is ‘real’ or not if we cannot touch it? What means “REAL”?
In ceramic as well as many other media people often try to come as close as possible to trying to create work that “looks as real as possible”, but what does that mean? Surface, details, perspective, color?
Confusingly similar or? What LOOKS similar? But what defines that?
Both Impressionist as well as Expressionists (next to plenty of other people!) were very much concentrating on finding an answer to this question.
Claude Monet “Cathedral de Rouen – effet de soleil”, six views (1892 – 94)
Edvard Munch, four paintings: “The Voice”, “The Kiss”, “by the death bed”, “self-portrait between clock and bed” (1893-1943)
In any medium I work in I am interested in how we really perceive our world, which is different from what we have learned to think looks “real” through the massive amount of what are actually reproductions of images as people have at one point seen them in photographs or paintings etc., but what we still do NOT perceive looking that way if we concentrate on our own awareness of the very moment, in that sense the grass is not always green and the sky is not always blue.
Also we need to realize if we paint from model step by step our eye focuses on tiny little details one after the other as we bring those down to paper or canvas, but in real life we do not view our environment as detailed as that. So an image with every detail in focus is actually most incorrect to human visual perception, because we rarely achieve such heightened focus.
Jan van Eyck “The Arnolfini Wedding” (1434)
Further, we rarely would turn our head onto let’s say a person in front of us with closed eyes, then open our eyes and then close them again, as a camera does it. Instead we keep our eyes more or less always open during awake time, for that reason even if our object to be viewed is stable and does not move at all generally at least our head moves with opened eyes and active vision, so what we see is not a fixed image. For instance Pablo Picasso’s light paintings demonstrate this:
Getty Images “Pablo Picasso lightpainting” (1949)
But way before Mr. Picasso Zen monks in China and Japan tried to figure out the reality of visual awareness, such as for instance Sesshu Toyo:
Sesshu Toyo “landscape” (1495)
The focus lies on gesture, as in China and Japan calligraphy is related to painting and supposed to be integrated into each other, and each letter is also a simplified image.
Consequently Japanese photography seems often visually related to the ink painting and dealing with the same concerns:
Daido Moriyama “various photographs”
We tend to orientate ourselves in our world to a great deal visually and relate what we see in front of us to what we have seen in the past and understood as a certain thing with specific characteristics. Without this possibility to reference we would be without orientation, as if we walk during the dark through an unknown house and unknowingly look into a mirror showing our own reflection we may at first not recognize ourselves and assume to be meeting another person.
Do we see our reflection in the mirror in 2D or in 3D?
“The film is associated with an urban legend well known in the world of cinema. The story goes that when the film was first shown, the audience was so overwhelmed by the moving image of a life-sized train coming directly at them that people screamed and ran to the back of the room.” :
“ L’arrivée d’un train en gare de La Ciotat /Arrival of a Train at La Ciotat” Lumiere Brothers (1895):
Urban legend or real fact, it is believable that this happened.
Visual perception and memory are linked to each other.
People with vision impairment, such as the blind photographer Evgen Bavcar draw from visual memory before they lost their eyesight:
Evgen Bavcar “various photographs”
I am since early childhood strongly nearsighted. For the longest time I thought everybody sees his or her surrounding like me, which is pretty much an image like an impressionist painting. After my handicap in elementary school age was diagnosed I started wearing glasses and later contact lenses, but still I seem to be imprinted with the visual experience from very early childhood, as I seem to orientate myself more by memory than my vision; it shows if a person moves an item in my household even only a meter from left to right, I am unable to find it, trying to look for it where I put it last and not where I could potentially see it.
A couple of years ago I found out I am suffering from face-blindness (“Prosopagnosia”), which in my case shows that I am having great difficulties or am unable to recognize people outside the environment where I met them first, or if they wear different clothes, hairstyle etc, or if they wear a common or indistinguishable clothes and hairstyle etc.
It is almost comical how I try to run through my visual memory when I meet people again, who obviously know me and so expect I should recognize them, but I can’t.
All these experiences made me focus on visual experience and visual memory, which I explore in my artwork.
An uneventful day, Van Gogh’s cut off and bandaged up ear, Brooke Shaden, a humanist photo workshop, Tomek Ducki’s trailer for “Silent Touch” and uploading a new category “Photography”
February 18, 2014
Today I am waiting, specifically for a dark grey printing cartridge for my expensive expensive printer to print out more photographs.
Meanwhile I am thinking the “ear-cutting off” was already made famous by another artist, I didn’t even realize until today:
Vincent VanGogh “Self-Portrait with Bandaged Ear and Pipe” (1889)
And looking him up and his cut-off ear story in various versions I came across this wiki sites that shows various (all???) of his self-portraits, which I thought is great and so I show it to you here too: http://en.wikipedia.org/wiki/Self-portraits_by_Vincent_van_Gogh
Further I noticed yet another new glitch trying to activate links in yahoo mail and a way to bridge it, and hope not too many people got annoyingly inactivated links from me last week or since ever this is going on.
Also looked at Brooke Shaden’s site http://brookeshaden.com/ and her project teaching photography to survivors of human trafficking in Kolkata http://www.indiegogo.com/projects/photography-school-for-survivors-of-human-trafficking;
I conversed with her before she got super famous in winter 2009/10, and she is super nice, but by now looking through her site I think she is somewhat repeating over and over a certain recipe again and again, which is probably commercially doing well, but I am a bit missing some new ideas and also I liked her work better when she was working with models, although I totally understand that it is much easier using oneself as a model (next to being also much cheaper!)
But the photo workshop in India sounds a great idea.
There was other less fascinating stuff happening today even less worth posting it here.
BUT: the highlight of the day was watching Tomek Ducki’s trailer for his film: “Silent Touch”, which you also can see here:
and here is his homepage:
and he is really a very interesting person to me, having studied both on the MA Directing Animation at NFTS and also the MA Animation at MOME Budapest, but not enough with that, he also lives in Krakow of all beautiful places and has his fingers in Polish Poster Design, I mean: what does he NOT do, that guy? At least for me each one of these is terribly interesting. I sent him a mail asking the difference between the course at NFTS versus MOME, we will see what he has to say.
Further Chris is back from Mexico and promised after the 25th him and Melanie will have time to work on sound for the planet clip for “I anyways live until I die”-film.
And I am about to upload a new category “Photography” on my site, but I need to get the order right and to do that I wanted to make more prints and for that, see above, I need that bloody cartridge to arrive in the mail.
OK fine, no procrastinating. Started uploading and here are some samples that may look familiar but actually have never been posted in this form before (or at least I couldn’t find them in my files):
Josiane Keller “worm in the rain – still” (2013)
Josiane Keller “fetus Eileen in the womb – still” (2013)
Josiane Keller “the whale close up – still” (2013)
February 17, 2014
So I didn’t yet show what I did in the forest.
Basically I de-eared the sculptures from the “Each reflection”- project from 2012.
A brief explanation about the why’s and all.
The origin of the figures was trying to come up with a way to use self-made small scale figures from ceramic within contemporary art with more concept behind that just making tangible objects. The tangibility means also: a 3D object, and so questions between the difference of 2D and 3D came up.
The figures are very fun making, but over the fun of making them and the easiness of selling them I feel we all get a little carried away trying to create and also admire something that has actually a deeper meaning than, let’s say a gingerbread house. The discussion of craft aspects the fashion of creating something funny and/or cute seemed to be overwhelming. The outcome is a ton of from an artistic viewpoint very boring and tacky figures for relatively high collector prices and I didn’t want to be a part of that.
Remember this one, free a’la Baldessari ? :
Josiane Keller “I will not make any more meaningless ceramic” (2012)
So I started with this project concentrating of figures used as models for photography, later also animated film.
The downside of working like this, or any conceptual art, is obvious: if it is not touchable, if it is basically an idea, how to price, wrap, box and sell and idea, and also: how to show off with a purchased idea one has invested a lot of money it?
So I had boxes of carefully packed and stored figures used for the photo-project from 2012, and was frequently approached to sell the figures. Tempting, if you are a a ft artist and the question of ‘how to make money’ is as real as for the rest of us.
But at the same time I felt very strongly if I make all this work and research and write in all detail about why I do it and why I won’t make any more figures for the sake of figures but for the sake of making “art” with the figures, and then get in oh so many heated discussions based on the confusion created by a language that uses the words “art” and “artists” for everything from bead-making, amateurs painting landscapes in their spare time to highly trained people with a number of degrees and a long history of shows in established galleries (again: define “gallery”!?) and then two years later when the attention to the project has passed packing it all up and hustling it to the net craft shop where I know for sure for a decent even if not majorly high price I can sell these and I would be as happy about making that money as the next person.
So anyways, despite the temptation I couldn’t do it.
And then the next stage is the element of the bunny-ears, that I started using during a postgraduate research at Kyoto Seika Art University in Japan in 2008/09 and stopped about one year ago, which is documented in the short animated film “I don’t need these any more”
Josiane Keller “I don’t need these anymore” (2013/14)
as well as a mini comic for last year’s comic convention in Lucerne /CH ‘Fumetto 2013′ “Justice”:
Josiane Keller “Fumetto / Justice page 4″ (2013)
The “ear-cutting off”, as well as the “ear-growing” and “ear-having”, is symbolizing various stages of social adaption or refusal of being submissive to a certain society and their unquestioned norms.
And logically it turns the figures, being ear-less and in some sense ‘broken’ now into no-longer-marketable objects, falling no longer into the realm of what is wanted by a certain audience.
Although, of course, part of the process is also challenging this belief and finding new territory to express my own sense of aesthetics and visual expression of concepts important to me. Not that I wouldn’t know where to look, but I guess I have so far made it easy for myself, and that is where the circle closes and the bunny ears come back in. It’s not just knowing where better, smarter ways are, it’s also finding the self-esteem to put oneself out there.
But now the pictures from the forest, have a look:
Josiane Keller “three girls with ears” (2014)
Josiane Keller “watching and waiting group” (2014)
Josiane Keller “waiting couple” (2014)
Josiane Keller “racoon” (2014)
Josiane Keller “three people with ears” (2014)
Josiane Keller “watching” (2014)
Josiane Keller “love couple” (2014)
So far so good. This is the point where a little hammer comes in.
Josiane Keller “group in the snow” (2014)
Josiane Keller “group with no ears” (2014)
Josiane Keller “face” (2014)
Josiane Keller “friends” (2014)
Josiane Keller “the one behind the one in front” (2014)
Josiane Keller “the one darker than the others” (2014)
Josiane Keller “group all together” (2014)
So far these. What’s left is…
Josiane Keller “pile of ears” (2014)
Oh, these are just a few pictures of a larger series. If you watch carefully maybe you noticed there are two missing: Basha* and Chuck*.
I kept both with ears (at home for my personal collection), Basha* because she is perfect with ears, expressing a certain femininity that is based on exactly that pretended submissiveness that the ears symbolize, and I use her as a model for photos where I am after exactly that, and Chuck*, who is a bit crazy and his thoughts are in higher realms, to do so he needs his ears.
Josiane Keller “with a hammer” (2014)
When I use as names for the figures the same names of the people the figures were made as models for please make the difference that I make, despite the same name we are talking about two separate characters and the figures Basha and Chuck or any other are NOT the same as the people Basha and Chuck and I am in no position to judge if the person Basha is feminine pretend-submissive or if the person Chuck is crazy, a bit, a lot or not at all, I am talking about the imaginary characters I developed for these figures.
The interviews were collected anonymously in written questionnaires and most people participating I did not meet, if at all, until the figures and photographs were completed.
Josiane Keller “youth” (2014)
Whilst I am adding these new pictures into the “NOW. …” category I realize, the way my site is structured it would be nice to have just that one extra image up, which is easy as I took plenty of great shots, I am only showing a selection. So here one more picture, just for that one more.
And yes, there was definitely also an emotional block in “injuring” these figures, because I had spent nine months collecting and concentrating on the interviews which were written by living youth, and to some extent if one takes on an intimate project like this one will feel protective over one’s participants, at least I did.
But after all the ‘de-earing’ process also symbolizes a stage of ‘growing-up’, a kind of ‘passage of rites’ for both the kids in a spiritual way, and for myself, (as every artwork in some sense is always a self-portrait of the artist, which you can observe in a group drawing from model: each artist draws how he or she would look like if they would be that model).
February 16, 2014
… and what I did there I will show you tomorrow…
Josiane Keller “bringing them into the forest” (2014)
February 15, 2014
Today’s lunch place provided some amazing shots, one of them here:
Josiane Keller “waitress” (2014)
And also a miniature animated film, super mini indeed, which is called “Fish film”:
Josiane Keller “Fish film – still” (2014)
for loosening up the mood today no password needed, just enjoy it:
February 15, 2014
Back to the snow flake film from last night with Pippa’s gorgeous flakes. It fits right where I left a couple of years ago during my research at SEIKA in Kyoto, working on a graphic novel that included a part about the Yuki Onna, the mythical Japanese snow woman.
I am basically fascinated by snow whirls anyways and at all times, but in Japan they have a folk story about the Yuki Onna, the snow woman, a personification of winter, who freezes people with icy kisses.
(That says so much about the sexual identity of Japanese men, Freud would have a field day!), see some of my images on the topic here:
Josiane Keller “Yuki Onna” (2008/09)
Josiane Keller “Yuki-Onna No.17″ (2008/09)
Josiane Keller “Yuki Onna” (2013)
A Greek/British immigrant in Japan, journalist Lafcadio Hearn,
made her popular in the West in the 1800′s , as he was majorly fascinated by all things Japanese and collected and published folk stories, the particular one about Yuki Onna in ”Kwaidan” , of which exist various film as well as anime adaptions, most famous perhaps the 1964 version by Masaki Kobayashi:
Masaki Kobayashi “Kwaidan” (1964)
Well, way to go, but I first have to complete “I anyways live until I die” before I can actively start do any new projects.
Art spam by e-mail and art spam comments – and: it’s nothing unless it has not to do with Lady Gaga! and a new show idea: “Better than Lady Gaga”
February 14, 2014
So yet another of these “please pay thousand+ $$ so we can promote your art to who really cares, but DO SEND THE MONEY and believe” organisations approached me, in fact the lovely Chelsea Locatelli e-mailed me. I googled her, in fact: image googled her (it is most effective, I recommend it to you when you are looking something or someone up!), she is quite lovely indeed, darling little artsy housewife with a man by her side and a cute toddler out there in equally lovely Santa Barbara it was, I think. I mean, I would date her, totally. BUT. And surprisingly her organisation is yet again headed by another lady (“D.T.”) who I already was approached by a couple of months ago, and since I am not interested in advertising people like these I skip her name, and it was not only me who is being approached, of course.
*** OH DISCLAIMER: it turns out there are two ladies with either the same name or one is faking ID of the other.
ONE is REAL CUTE (the one I WOULD date..!) THE OTHER LOOKS HORRIFIC and just like the later mentioned GUCCI and fake GUCCI handbags-type and that is so not me, so THAT ONE I certainly would NOT DATE or anything and finding this out makes me regret I did talk to her, thinking she was the cute one.
OH BUMMER!!! Oh well.
So it basically comes down to due to the fact that Miss Chelsea was more cute* and more polite* in her initial approach than it is usually the case and so I actually DID converse with her, up to the point that I told her unless she can give me specific facts about certain essential points I am wondering about it is totally irrelevant to me if they like my work or not, if they have a committee who picks the work and if in the last God knows how many years they send their publication (the very one I am supposed to submit to for I think 1700+ $$) to get basically a full page ad in it (ART NEWS rates, I am not sure right now, are they cheaper currently, same or more?) to one or more on the list of Americas most prestigious galleries, anyways as long as I have no facts about that these books they send out don’t go straight to the bin right with the Domino Pizza vouchers I am most hesitant to invest the money I dearly need to pay for my self-published photobook (I mean IF I do that, then it will be that way). So here my list of questions to her in full:
February 13, 2014
Today I had after along time of boring handbag commercials again a really inspiring fun spam, look here:
“The top hostess in the ship reported the fact that the best fashion invention she gets ever took advantage of were toe less nylon with mild support.”
I mean hey! Toeless nylon!
Anyways, back to art and all about it.
So both my talented friend Pippa’s gorgeous paper-cut snowflakes and also my own animated film were chosen to go to Chicago, so rapido I have to return the paper-cut snow flakes back to her so she can then send her selection to the show in Chicago.
But since they are already here I might as well take some test pics at least before I have to return them, which is what I am busy with today. And they are really REALLY beautiful:
Keller/Arend “Snow Flake film – 4 stills” (2014)
February 12, 2014
Hurrah, just found out my animated film “I don’t need these anymore” is accepted into the upcoming juried show at ARC Gallery Chicago “Fractured Yet Rising”:
Josiane Keller “I don’t need these anymore” (2013/14)
Each reflection figures unpacked – and now…, more shots of supermodel Basha, also four more shots of Koala, thoughts about the 2012 “Each reflection…”-project and a Noh mask workshop in Kyoto
February 11, 2014
Crammed all my figures from the “Each reflection…”-show out and am wondering what to do with them now…
Josiane Keller “Each reflection figures-group” (2014)
Done with the bunny-ear topic, but I do not want to just store them, neither sell them one by one really, as well discussed. So what next?
Josiane Keller “Each reflection of myself echoes a different emotion at me” (2012)
If you compare the pictures you might notice I snatched Basha, the horse and the ostrich for my personal collection. Love them all, but I don’t have the space and with a nomadic life style comes the urge to clean stuff out regularly no matter what.
I guess for time being they will squat in my studio corner.
If you wonder why I keep my grip on Basha, the reason is: she is a friggin’ supermodel, no picture of her ever comes out boring. Don’t ask me why, simply look for instance at these new ones here:
Josiane Keller “Basha in a crowded room” (2014)
or here another shot, same session:
Josiane Keller “Basha by the window” (2014)
Can you see what I mean by “supermodel”? No way I gonna let her go.
Koala is very good as well:
Josiane Keller “Koala 1″ (2014)
Josiane Keller “Koala 2″ (2014)
Josiane Keller “Koala 3″ (2014)
Josiane Keller “Koala 4″ (2014)
If you have not read anything on this BLOG from 2012 and feel I have completely lost it, it is very simple: in 2012 I did a big project titled “Each reflection of myself echoes a different reflection at me” with a group of street youth from Portland, Oregon, interviewing them anonymously by using written questionnaires and asking them about their daily life as well as how they look like, according to which I created small scale ceramic figures. I asked them where they like to hang out, or where their figure is supposed to hang out, and then looked for a setting out here that could symbolize that and took a series of photographs that were then displayed together with the interview texts.
You can read more about it and view images and interviews here: http://www.josianekeller.com/category/now/each-reflection-of-myself-echoes-a-different-emotion-at-me-20-heroes-from-the-city-of-roses/
So the project was not about making the figures from ceramic, but using them as stand-ins for the kids, as models so to speak. I learned a lot during this project about what makes a good photograph. But since it was not about the figures I still have them here boxed up. And, see above, the question is now: what to do with them? I put a lot of work into each one, and there is in some ways also a lot of work from the kids in each, even though I formed them, still according to what they told me. So I hesitate against selling them now, although that would be in some ways a logical step to finance my work in media that does not bring a lot of regular income. Then again there is a massive contradiction for me, so I am a bit at a loss now. Maybe I will simply pack them back up and wait until I have a better idea. But I wanted to look at them after such a long time and see if I come up with something.
Oh, and I just got notice about this and it fits very well with the expressive faces above: IF you should be so very lucky to be anywhere near Kyoto right now you can learn about Noh mask carving here with actor and master carver Udaka Michishige: http://nohtheatre.wordpress.com/2014/01/28/extended-noh-mask-carving-atelier-special-opening-february-2014/
Ukada Michishige “Shakumi”
(*If you can: go for me and give Kyoto a big kiss from me!!!)
Here more info: http://www.noh-udaka.com/en/profile.html
And since the figures so far didn’t bring me any ideas back to photography.
Josiane Keller “Milli leaning forwards” (2014)
This seems very funny to me. I should make a series…
Planet sound scouting for “I anyways live until I die”, sounds of Saturn, Sun, Moon, Mars, Pluto, Mercury, Uranus and a Black Hole
February 10, 2014
Meanwhile I am making a new photo portfolio I am also looking for inspiration for Madeline and Chris to help with the sound for the clip showing planets in space, so I need to come up with some samples of planet sounds, like for instance here:
- (the real interesting sounds in this clip start with Saturn): http://www.youtube.com/watch?v=ToXaNUjNfS4
- aha! here a recording sample made by NASA, I guess we can safely assume all sounds on youtube etc. stem originally from NASA… oh well, listen here:
- it’s a bit to eccentric (yes, indeed!) for the piece I want to make, but just because it’s also very cool, here the sound of the Sun:
- and here the sound of the Moon:
- here is Mars (must be incredibly windy around Mars!)
- rustly Pluto:
- Saturn again (totally gorgeous in every way: visually and audio!):
- and some more Saturn (one can never have too much Saturn!), apparently the sound of its rings, God knows who they make a difference, but let’s listen anyways:
- a bit noisy Uranus (if you have pet birds like me, they might like this sound and answer to it, personally I find it a little scary):
- and here the sound of a Black Hole:
And for completion here the images I am working on, involving my pottery wheel, that’s right, just look here:
Josiane Keller “space photos (A) and wheel throwing (B)” (2014)
Has something Saturny, doesn’t it? Wait till my film is finished! Let’s see what Madeline and Chris think about it all!
22 new photos at one glance and “Waterchildren” by film maker Aliona van der Horst on pianist/artist Tomoko Mukaiyama
February 10, 2014
Since I have been invisible for a couple of days I will show what is spread all over my studio. I am making a photo portfolio with my recent work, since I have been accused of “my animation being too much photography”. Personally I find that pretty silly, since films are based on photography, and anyways isn’t it refreshing seeing once and a while something what’s outside the box?
And some people seem to really enjoy the films, so it’s not all bad.
But then again I need to realistically assess my work and consider my next step. I can’t live off here and there selling an old sculpture.
Anyways, I am busy reflecting and here is a selection of the stuff I am reflecting on:
Josiane Keller “22 new photos” (2014)
Also I came across the documentary of Russian/Dutch film maker Aliona van der Horst “Waterchildren” :
“… In this documentary, artist and pianist Tomoko Mukaiyama asks a group of Japanese women to participate in her art project exploring and meditating on the meaning of their monthly blood and the rhythm of their bodies. The women, sometimes for the first time in their lives, try to give words to their experiences, resulting in powerful testimonies about the connection between life and death, mortality and the power of life. Gradually, and unexpectedly, this film evolves into a collaboration between the artist and me. …”
here more on the film and the film maker:
and here more on the pianist/artist Tomoko Mukaiyama:
and here the trailer:
February 9, 2014
As you can read in the headline: I am not gone but making yet another portfolio and printing out my recent photographs which are spread all over my studio floor to dry, and when I collect them and put them in a nice portfolio I only make space for more print outs.
This will take some time, but necessary to clear my head and look back and the recent months of production to see where I actually stand, so please be patient, I will be back POSTING shortly!
Meanwhile I got happy news one remaining sculpture from a set from my days in Oregon has sold for good money and I can eat, hurrah!
(Boy it is so tempting to go back to sculpture making, simply for the money, but I want to concentrate on the image, not the thing.)
Josiane Keller “Tired 3″ (2014)
A friend who can’t understand my animation “I don’t need these any more” (one more), Hiroshi Sugimoto on “Memory” and back to my project “I anyways live until I die” a group of galloping horses
February 6, 2014
I got some very positive crits on my animation “I don’t need these anymore” and some people did not get it, for instance this is what a friend sent me:
Josiane Keller “I don’t need these anymore” (2013/14)
“… ich hab dein video jetzt geschaut, aber ich verstehe es nicht wirklich, also ich krieg keinen zugang zu thema und zur umsetzung, was aber auch daran liegen kann dass ich mir mit animationsfilm per se nicht leicht tue. das mit dem wal war leichter für mich damals, visuell meine ich. naja. ist halt so.
aber nachträglich grosse gratulation zu deinen venus-beiträgen mit einkaufstasche in der badewanne und so. das war ziemlich radikal und ziemlich am punkt. es gab in der zeit extrem viele beiträge zu dem thema, aber das war das, was am meisten humor hatte UND am punkt war. echt cool.
Which translates roughly to this:
“… I watched your video, but I don’t really understand it, in that sense I feel no access to the topic and the way you applied it, although the reason might be that I generally am not having an easy time with animation. The one with the whale back then was easier for me, visually I mean.
But belated congratulations to your Venus posts with shopping bag in the bathtub and such. It was very radical and to the point. In that time there were relatively many contributions to this topic, but this one was the one that had most humor AND hit the point, real cool.
But the Venus-ear is ending now anyways and generally a new time is starting. …”
She is a hobby astrologer (when referring to “Venus” she means the constellation) … otherwise she is working in law, not art.
Josiane Keller “woman with recyclable shopping bag green” (2013)
Here an interesting interview with Hiroshi Sugimoto on “Memory”:
Hiroshi Sugimoto “Baltic Sea near Ruegen” (1996)
But irrelevant of friends applauding or not being able to follow and irrelevant of my still cooking head, trying to figure out life I have to get going and finish my film “I anyways live until I die”. Two scenes are left to do: a group of galloping horses for “adulthood” and ‘planets turning’ for “a beginning before life”.
I am going with the horses as technically it is easier (is it?) they are already around from the “Sallie” project. First I need to clarify color. Here some samples:
Josiane Keller “16 Sallies running free – bw” (2014)
Josiane Keller “16 Sallies running free – grey” (2014)
Josiane Keller “16 Sallies running free – wb outline” (2014)
Interview of Animation World Today with Simon Pummell by Heather Kenyon, trailer of his films Bodysong (2003) and Shock Head Soul (2011)
February 5, 2014
Still busy with things mainly cooking in my head not ready for ANY form of publication, but meanwhile you can read this interview with award-winning director Simon Pummell here, who is currently the course leader in Rotterdam at the Piet Zwart Institute of the MA Media Design and Communication (http://pzwart.nl/nl/courses/mmdc/Staff-and-Tutors/):
and here would be his homepage:
and watch here the trailer for is film “Bodysong” (2003):
and here the trailer for “Shock Head Soul” (2011) about Daniel Paul Schreber who in 1903 published his autobiography of madness ‘from the inside’ http://en.wikipedia.org/wiki/Daniel_Paul_Schreber (it is a very complex topic, involving a psychotic father who clearly tried to deal with his own suppressed issues projecting them onto his son, so if you expect anything pleasant like yesterday’s Snow Maiden singing my a quite pond you will be disappointing for sure, so beware and make wise choices clicking on or not!)
Simon Pummell “Shock Head Soul” (2011)
What is ‘Animation’ anyways? the Phi phenomenon and the Beta movement, Yuri Norstein’s “Lisa i zayats” (1973), Soyuzmultfilm’s “The Snow Maiden” (1957) and a wiki-article that talks about Norstein’s “The Overcoat”
February 4, 2014
Whist I am thinking about life and how it all fits together (in an animation?), well, what happened was the second person told me now my work is photography and NOT ANIMATION, but I am not so bothered what it is called, I simply want to do it and also I think it is maybe simply “film” and the film is pictures added to each other in a row, right? The Phi Phenomenon, right? It has to do with how human eye sees. Wiki explains it like this:
and this would be, as mentioned in the article, about the Beta movement: http://en.wikipedia.org/wiki/Beta_movement
About animation in general, here, once more, what wiki thinks:
I guess I am interested to what extent one can slow the succession of images down and it is still experienced as movement, but perhaps my eyes are very slow, slower than other people’s.
In any case admittedly to some extent comments like that depress me, because it is basically about the good old playground “you can’t play with us because you don’t fit with us”. (Oh Jeez. )
That was that. I will get over it.
Meanwhile watch Yuri Norstein’s cute fairy tale of a fox who steals bunny’s house and nobody seems to be able to help him, until a feisty and very chilled roster with a heavy nicotine addiction shows up:
and if you need more Russian folklore watch the stunning and a tiny bit tacky Snow Maiden by Soyuzmutfilm (1957) here, featuring a very girly snow maiden with a huge crush on a shepherd soprano (personally that would turn me off BIG TIME but I am not made from snow) and plenty more singing, dancing and very wrong choice making when it comes to picking a mate, but it is still pretty, anyways, oh: and it’s very long, since you probably expect these minute-long clips here, this one is feature length, so maybe watch it in small portions:
some more info on it here:
And despite the plenty of clips on youtube etc. I am not putting any up here, you can search for them on your own, instead you read about the making of Norstein’s “The Overcoat” here:
No pictures today.
Mini docu on Vivian Maier, four (new + my) photographs and an interviews with the animator-brothers Stephen and Timothy Quay
February 3, 2014
Watch here a mini documentary on the mysterious (or is she?) Vivian Maier:
and see four of my photographs:
Josiane Keller “untitled” (2014)
Just for fun compare it with yesterday’s film still:
Josiane Keller “I don’t need these anymore” (2014)
I guess I am repeating myself. But then again the idea of Jung’s “communal memory” is very plausible to me, since I paint way too many prophetic pictures as well as take photographs of images that are already out there, see 2012 project “Each reflection of myself echoes a different reflection of me”. Anyways.
Josiane Keller “chair” (2014)
Josiane Keller “mouth” (2014)
Josiane Keller “table leg” (2014)
And really simply to see if that looks any more interesting or possibly not more interesting all together now:
Josiane Keller “untitled (quad)” (2014)
and watch here an interview with the Brothers Quay on their work: http://www.youtube.com/watch?v=xuW-RchDq2Q
and here a link to info on their retrospective at MOMA in 2012/13: http://www.moma.org/visit/calendar/exhibitions/1240
and here a link to the hospital sequence they made for the 2007 film on Frida Kahlo “Frida”, careful” according to the topic it is all a bit grim…: http://www.youtube.com/watch?v=X0z4XfzMxs8
February 2, 2014
Sadly so the logo in the new animation had some tiny but still mistakes in almost every frame in terms of the brightness creating a little line that especially on a large screen would be noticeable and that’s no good.
It consists of about 80+/- frames, so that’s what I did on a winter Sunday afternoon, fixing the logo.
Josiane Keller “M for MORPHO – Studio Komorebi logo ‘M’” (2014)
Oh well, now it is perfect, or better, as it lost the annoying line but also a tic of the brightness which was lovely, but what can one do?
Ready to submit it to the ARC show, but I might sleep over it one night, knowing myself I might find another minuscule yet super-annoying mistake to fix by tomorrow morning. …
Other than that nothing interesting to talk about right now, as I really do NOT want to show yet another bobble-head animation, even if they are generally cute and some also smart.
I better wait til I come across something truly fascinating.
Completed old footage with new sound: new animation “I don’t need these anymore” for show about violence against women
February 2, 2014
I had made the drawn footage one year ago in Kyoto with Naomi Nagata from Animationsoup http://www.animationsoup.com/nagata/, lending me a mini lightbox there. But I never completed it until today.
The original titles was supposed to be “The End of Usagi-chan” as this film fell together with me letting loose after almost five years of drawing everyone with bunny-ears since my postgraduate research at Kyoto Seika Art University.
The new title is obviously “I don’t need these anymore” and I am applying with it to the open call for yet another juried show at ARC Gallery Chicago, theme is ‘violence against women’, title of the show will be “Fractured Yet Rising”:
Josiane Keller “I don’t need these anymore” (2013/14)
As always: if you want to see it, contact me and I send you link and password. Or if I am lucky I get into that show and if you happen to be nearby you can see it live there, wouldn’t that be even much better?
A new very detailed critique from Finland on the updated “The Swing and the Worm in the Rain” and a mini interview with director Henry Selick on “Coraline” stop-motion animation puppets
February 1, 2014
I am honored to show my Finnish friend’s critique on the new version (with rain sound) of “The Swing and Worm in the Rain”-footage here, as she is very kind to take the time and has some interesting points:
” (…) but now to the video! Generally felt good about it. I think it was better, somehow clearer than before. I don’t remember exactly how the swing sequence was in the first version, but I felt like I got a better look at the cute thing now, and in this version there was a closer focus on one of the swings at the end (? Or that’s at least what I imagined) which made me think that now we are going to see and hear the story of a a particular child sitting on that swing, probably the narrator herself. That was a pretty nice thought. After the swing was gone hearing the man sing with only the white background was a bit frustrating for a few seconds (a nice calming voice though), because obviously I don’t understand the language, and am always eager to get something more out of it than “just” the sound. The feeling when I don’t know what the words say, and there is a screen waiting to be filled with images. The rest of it – still liked it. A thought that just crossed my mind was that all children have the same experiences of nature with all its living and dying creatures, killing them on purpose or by accident, and all the confusing or bad feelings that provokes. That idea was emphasized in the mother and daughter talking about the worms at the same time. So everything to do with the story and humanity happens generation after generation. I could have listened to even more different radio stations by the way. The sound of the rain at the end is one is my favourite part. …”
and this time I will also put my reply to it:
” (…) I only took about three or four frames away from the swing in the beginning and so the last clip, which indeed is focused (as you realized: not all are, some are intentionally blurry), this last clip is matching with the end of the first two verses of the song.