Archive for ‘Filmmaker’

March 17, 2014

Mustafa Hulusi

Mustafa Hulusi

Mustafa Hulusi

Mustafa Hulusi







Mustafa Hulusi mines his hybrid identity—he was born in London to Turkish Cypriot parents—to create his evocative paintings, installations, films, and photographs. By combining diverse artistic styles and references to pop culture, advertising, and Middle Eastern and Western history in his works, Hulusi investigates how different visual “languages” shape our perception.

February 9, 2014

Sterling Ruby









Sterling Ruby / frac champagne-ardenne

Sterling Ruby was born in Bitburg, Germany to a Dutch mother and an American father. While living in Pennsylvania, he attended the then three year NASAD accredited art school, The Pennsylvania School of Art and Design. From Pennsylvania, the artist relocated to Illinois where in 2001 he received a BFA from the School of the Art Institute of Chicago. In 2003, he moved to Los Angeles to attend the MFA program at Art Center College of Design in Pasadena, California. While at Art Center he studied with artist Richard Hawkins, and theorists Sylvère Lotringer and Laurence Rickels. While attending graduate school at Art Center he was the teaching assistant for artist Mike Kelley. Sterling Ruby currently lives and works in Los Angeles, CA

Sterling Ruby works in a large variety of media including ceramics, painting, collage and video. Often, his work is presented in large and densely packed installations. In opposition to the minimalist artistic tradition and influenced by the ubiquity of urban graffiti, the artist’s works often appear scratched, defaced, camouflaged, dirty, or splattered. Proclaimed as one of the most interesting artists to emerge in the twentieth century by New York Times art critic Roberta Smith, Ruby’s work examines the psychological space where individual expression confronts social constraint.

Ruby has exhibited at institutions including the Ullens Center for Contemporary Art, Beijing; Museum of Modern Art, New York; Museum of Contemporary Art, Chicago; Institute of Contemporary Art, Philadelphia; Walker Art Center, Minneapolis; Garage Centre for Contemporary Culture, Moscow; Saatchi Gallery, London; MACRO, Rome; and Baibokov Projects, Moscow.

In addition to his solo exhibition at the Los Angeles Museum of Contemporary Art (“SUPERMAX 2008″), Ruby has been the subject of solo exhibitions at The Drawing Center, New York; La Galleria d’Arte Moderna e Contemporanea, Bergamo, Italy; FRAC Champagne-Ardenne, Riems, France and the Centre d’Art Contemporain, Geneva, Switzerland; and Bonniers Konsthall, Stockholm, Sweden.

Ruby’s work is in international collections, including the Solomon R. Guggenheim Museum, New York; Hammer Museum, Los Angeles; Los Angeles County Museum of Art; Museum of Contemporary Art, Chicago; Museum of Contemporary Art, Los Angeles; Museum of Modern Art, New York; Seattle Art Museum, Washington; and Tate Collection, London. 

November 25, 2013


Prepare yourself for an unparalleled sensory experience. SAMSARA reunites director Ron Fricke and producer Mark Magidson, whose award-winning films BARAKA and CHRONOS were acclaimed for combining visual and musical artistry.

SAMSARA is a Sanskrit word that means “the ever turning wheel of life” and is the point of departure for the filmmakers as they search for the elusive current of interconnection that runs through our lives. Filmed over a period of almost five years and in twenty-five countries, SAMSARA transports us to sacred grounds, disaster zones, industrial sites, and natural wonders. By dispensing with dialogue and descriptive text, SAMSARA subverts our expectations of a traditional documentary, instead encouraging our own inner interpretations inspired by images and music that infuses the ancient with the modern.

SAMSARA was filmed in 25 countries and produced over the course of almost 5 years. The crew, comprised of Ron Fricke (director), Mark Magidson (producer), JC Earle (associate producer), and Myles Connolly (line producer) traveled together to each location throughout the course of filming.

October 14, 2013

Edward James Muggeridge










Edward James Muggeridge, An English photographer, active in the USA. He was the first to analyse motion successfully by using a sequence of photographs and resynthesizing them to produce moving pictures on a screen. His work has been described as the inspiration behind the invention of the motion picture.

Born Edward James Muggeridge, he emigrated around 1852 to the USA, where he first worked for a firm of publishers and later became a book dealer. After a stagecoach accident in Texas in 1860, he returned to England, where he took up photography. By 1867 he was back in California, describing himself as ‘Eadweard Muybridge, artist–photographer’. During the next five years he took over 2000 photographs, selling many of them under the pseudonym Helios. Muybridge made his name as a photographer with a successful series of views, Scenery of the Yosemite Valley, published in 1868. In 1872 he was commissioned by a former governor of California, leland Stanford, to photograph his horse, Occident, trotting at speed. The aim was to test Stanford’s theory that at some stage in its trot the horse would have all four feet off the ground. Muybridge’s first photographs were inconclusive, but further attempts in 1873 appeared to prove the point, at least to Stanford’s satisfaction.

In 1877 Muybridge returned to the problem of the trotting horse and began the work which was to make him famous. He designed an improved shutter to work at the astonishing speed of one-thousandth of a second and used all his experience to sensitize his plates for the shortest possible exposure. When the resulting retouched picture of Occident in arrested motion was published in July 1877, it was so different from the traditional artist’s impression that it created a minor sensation . The next year Muybridge embarked on an even more ambitious series of experiments. In order to secure a sequence of photographs of horses in various stages of trotting, he set up a battery of 12 cameras fitted with electromagnetic shutters. These were activated by strings stretched across the track. Muybridge later repeated his experiments using 24 cameras. The subsequent photographs were widely reproduced in publications throughout America and Europe. The publicity led Muybridge to design a projecting device based on an optical toy by which drawings derived from his photographs could be projected on to a screen as moving pictures. During the early 1880s he toured Europe with this instrument, termed the zoopraxiscope, and a large collection of lantern slides. With the latter he was able to demonstrate that artists throughout the ages had depicted the horse in attitudes that were completely false.

On his return to America, Muybridge quarrelled with Stanford, but in 1884 he was able to begin work at the University of Pennsylvania using elaborate banks of cameras to analyse animal and human motion by means of photographs. He took over 100,000 photographs, 20,000 of which were reproduced in his major publication, Animal Locomotion (London, 1887; for example). This 11-volume work had a tremendous impact, not least on artists, who were forced to reassess completely the manner in which they depicted animal movement.

Muybridge finally returned to England in 1900. He bequeathed numerous relics of his work to Kingston-on-Thames Public Library, a great proportion of which is on loan to the Science Museum, London. Other major repositories of Muybridge’s work include the Bancroft Library at the University of California, Berkeley, the Stanford University Library and the Stanford University Art Gallery and Museum.

Article Via MOMA

September 27, 2013

M.F. Husain



MF Husain


Horses-in-full-gallop    mf-husain-with-saraswati-sandilya-debjay

Maqbool Fida Husain (17 September 1915 – 9 June 2011) commonly known as MF Husain, was an Indian-Qatari painter and Film Director.

Husain was associated with Indian modernism in the 1940s. His narrative paintings, executed in a modified Cubist style, can be caustic and funny as well as serious and sombre. His themes—usually treated in series—include topics as diverse as Mohandas K. Gandhi, Mother Teresa, the Ramayana, the Mahabharata, the British raj, and motifs of Indian urban and rural life. One of the most celebrated and internationally recognized Indian artists of the 20th century, he also received recognition as a printmaker, photographer, and filmmaker.

Husain first became well known as an artist in the late 1940s. He was one of the original members of the Bombay Progressive Artists’ Group founded by Francis Newton Souza.  This was a clique of young artists who wished to break with the nationalist traditions established by the Bengal school of art and to encourage an Indian avant-garde, engaged at an international level.  His first U.S.A. exhibit was at India House in New York in 1982. In 1952, his first solo exhibition was held at Zürich and over the next few years, his work was widely seen in Europe and the US. In 1966, he was awarded the prestigious Padma Shri award by the Government of India.

Indifferent to both religion and politics, Husain, a Muslim by upbringing, treated the gods and goddesses of Hinduism as visual stimuli rather than deities, depicting them unclothed and often in sexually suggestive poses. This earned him the bitter hatred of Hindu nationalist groups, which beginning in the 1990s mounted a campaign of intimidation and violence against him. The paintings in question were created in 1970, but did not become an issue until 1996, when they were printed in Vichar Mimansa, a Hindi monthly magazine, which published them in an article headlined “M.F. Husain: A Painter or Butcher”.  In response, eight criminal complaints were filed against him. In 2004, Delhi High Court dismissed these complaints of “promoting enmity between different groups … by painting Hindu goddesses – Durga and Sarswati, that was later compromised by Hindus.”

In 1998 Husain’s house was attacked by Hindu groups like Bajrang Dal and art works were vandalized. The leadership of Shiv Sena endorsed the attack. Twenty-six Bajrang Dal activists were arrested by the police.  Protests against Husain also led to the closure of an exhibition in London, England.

Husain became the best-paid painter in India, with his highest-selling piece fetching $1.6 million at a 2008 Christie’s auction.  Hundreds of lawsuits in connection with Husain’s allegedly obscene art were outstanding as of 2007.  A warrant was issued for his arrest after he did not appear at a hearing, though this warrant was later suspended.  Husain lived in self-imposed exile from 2006 until his death.   He generally lived in Doha and summered in London.

In 2010, he was conferred Qatari nationality, and he surrendered his Indian passport.  In Qatar, he principally worked on two large projects, one on the history of Arab civilization, commissioned by Qatar’s first lady, Mozah bint Nasser Al Missned, and one on the history of Indian civilization.  The works are to be housed in a museum in Doha.  For the last years of his life Husain lived in Doha and London, staying away from India, but expressing a strong desire to return, despite fears of being killed.

At the age of 92 Husain was to be given the prestigious Raja Ravi Varma award by the government of Kerala.  The announcement led to controversy in Kerala and some cultural organisations campaigned against the granting of the award and petitioned the Kerala courts. Sabarimala spokesperson, Rahul Easwar, went to Kerala High Court and it granted an interim order to stay the granting of the award until the petition had been disposed of.

In 2010, the Jordanian Royal Islamic Strategic Studies Center named Husain as one of the 500 most influential Muslims.

July 2, 2013

James Nares








James Nares  is British born artist living and working in New York City since 1974. Nares makes paintings and movies (most notable being the No Wave Cinema classic Rome 78) and played guitar in the no wave group James Chance and the Contortions and with Jim Jarmusch in the Del-Byzanteens and was founding member of Colab. Nares attended the Chelsea Art School in London from 1972 to 1973. He later studied at the School of Visual Arts in New York from 1974 to 1976.  Nares is best known as a contemporary art painter. His method involves repeated strokes that eventually create a precise representation.

He is known for employing single but intricate gestural brush strokes in most of his works. Grace Glueck, New York Times art critic, described the effect of Nares’s paintings as a combination of Japanese calligraphy and the 1960s cartoon works of Roy Lichtenstein. His Modernist paintings, done with brushes he personally designs, effectively capture and record motion and the passage of a moment on canvas.

Nares’s paintings have been prominently featured in films and videos focusing on a wide variety of artistic concepts such as, movement, artistic repetition, and rhythm. His work is exhibited in various museums in the United States, such as the Museum of Modern Art in New York, the Albert-Knox Art Gallery in Buffalo, NY, and the Whitney Museum of American Art in New York. Some of his major solo exhibitions include 1976: Films and Other Works at Paul Kasmin Gallery, in New York in 2012, and Mixed Use, Manhattan: Photography and Related Practices 1970s to the present in 2010 at the Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain.

Nares’s other solo exhibitions include New Paintings in 2004 at the Hamiltons Gallery in London, UK, and the New Paintings and Chronophotographs exhibition in 2005 at the Goss Gallery in Dallas, TX. His works were also featured in the Painting and Sculpture exhibition at the Lehman Maupin Gallery in New York City, in 2010. Rizzoli, a leading American publication, published a monograph dedicated to Nares’s works in 2013 that focuses on his contributions to the world of art in the past four decades.

Nares is represented by the Paul Kasmin gallery.

Nares was accorded artistic recognition by the Anthology Film Archives in 2008 for his film work. He made a series of short sculptural-related minimal art films, somewhat in style and interest to those of Richard Serra. In 1978 he released a well-known no wave 82 minute color Super-8 film entitled Rome 78, his only venture into feature-length, plot-driven film. The narrative is about the Roman emperor Caligula now set in a shabby 1978 downtown Manhattan apartment. As such, it proposes an analogy between ancient Rome and modern America as cultural empires.   Despite its large cast in period costumes, the work is never made out to be a serious undertaking, with actors who interject scenes with self-conscious laughter, and deliver seemingly improvised lines with over the top bravado. The work features No Wave Cinema regular Lydia Lunch of Teenage Jesus and the Jerks along with artist David McDermott of McDermott & McGough as Caligula, James Chance, John Lurie, Eric Mitchell as a Roman general, Judy Rifka, Jim Sutcliffe, Lance Loud, Mitch Corber, Patti Astor, Anya Phillips as the Queen of Sheba and Kristian Hoffman, among others.

Nartes’ video “Street” (with a score composed by Thurston Moore), acquired by the Metropolitan Museum of Art, is the centerpiece for an exhibition he curated for the museum from their collection on the so-named theme.  This exhibition ran from March 5 until May 27, 2013.

July 2, 2013

Phil Hansen: Time Stands Still

Phil Hansen is a multimedia artist who specializes in representative portraiture, using media that connect to the subject matter, such as karate chops, tricycle wheel imprints, burger grease, worms, viewers’ experiences.
For more art, visit

May 7, 2013

Tacita Dean

 exhibition_hbp_1  SONY DSC

013112Dean 1

Majesty 2006 by Tacita Dean born 1965


Tacita Dean, Fatigues, 2012




Tacita Charlotte Dean OBE (born Canterbury, Kent, 1965) is an English visual artist who works primarily in film. She is one of the Young British Artists, and was a nominee for the Turner Prize in 1998. She lives and works in Berlin.

In 1995, she was included in General Release: Young British Artists held at the XLVI Venice Biennale. She is one of the “key names”, along with Jake and Dinos Chapman, Gary Hume, Sam Taylor-Wood, Fiona Banner and Douglas Gordon, of the Young British Artists (YBAs). Her work actually had little in common with the prominent YBAs, Damien Hirst and Tracey Emin.

In 1997, Dean moved to London. That same year she began to exhibit splices of magnetic tape cut the length required to document the duration of the sound indicated, such as a raven’s cry. In 2001 she was given a solo show at Tate Britain

Dean is best known for her work in 16mm film, although she utilises a variety of media including drawing, photography and sound. Her films often employ long takes and steady camera angles to create a contemplative atmosphere. Her anamorphic films are shot by cinematographers John Adderley and Jamie Cairney. Her sound recordist is Steve Felton. She has also published several pieces of her own writing, which she refers to as ‘asides,’ which complement her visual work. Since the mid-1990s her films have not included commentary, but are instead accompanied by often understated optical sound tracks.

May 7, 2013

John Baldessari



artwork_images_77705_637807_john-baldessari  Baldessari_03  john_baldessari

noses-ears-john-baldessari-1  TRIBUTE-TO-JOHN-BALDESSARI-for-Neo2-magazine-1

Interview with John Baldessari
by Nicole Davis

Nicole Davis interviewed John Baldessari in his studio in Santa Monica, Ca., on Apr. 12, 2004.

John Baldessari: So, fire away.

Nicole Davis: What led you to become an artist?

JB: I always had this idea that doing art was just a masturbatory activity, and didn’t really help anybody. I was teaching kids in the California Youth Authority, an honor camp where they send kids instead of sending them to prison. One kid came to me one day and asked if I would open up the arts and crafts building at night so they could work. I said, “If all of you guys will cool it in the classes, then I’ll baby-sit you.” Worked like a charm. Here were these kids that had no values I could embrace, that cared about art more than I. So, I said, “Well, I guess art has some function in society,” and I haven’t gotten beyond that yet, but it was enough to convince me that art did some good somehow. I just needed a reason that wasn’t all about myself. Read more

John Baldessari is an American conceptual artist. After studying art at San Diego State College (1949–57), he began to develop his painting style, soon incorporating letters, words and photographs in his works. By 1966 he was using photographs and text, or simply text, on canvas as in Semi-close-up of Girl by Geranium … (1966–8; Basle, Kstmus.). From 1970 he worked in printmaking, film, video, installation, sculpture and photography. His work is characterized by a consciousness of language evident in his use of puns, semantics based on the structuralism of Claude Lévi-Strauss and by the incorporation of material drawn from popular culture. Both are apparent in Blasted Allegories (1978; New York, Sonnabend Gal.), a series combining polaroids of television images captioned and arranged to suggest an unusual syntax. Baldessari differed from other conceptual artists in his humour and commitment to the visual image. He dramatized the ordinary, although beneath the apparent simplicity of his words and images lie multiple connotations. We LOVE him!

May 5, 2013

April’s Savior: The Umbrella

As May flowers appear closer on the horizon, we cope with April skies by celebrating the wetter month’s undisputed rain-warrior: the umbrella. The iconic accessory is the star of this film by Tell No One, AKA Luke White and Remi Weekes, winners of the Young Directors Award (Video Art Europe) at Cannes 2012, with creative direction by Leila Latchin. The brolly also forms the focus of design expert and sophisticate Stephen Bayley’s century spanning essay.

The Umbrella by Stephen Bayley


Get every new post delivered to your Inbox.

Join 758 other followers

%d bloggers like this: