Posts Tagged ‘Video Art

11
Nov
12

Day 316: Portrait of Cate Blanchett, by David Rosetzky

David Rosetzky Cate Blanchett 1

 

David Rosetzky Cate Blanchett 2

 

David Rosetzky Cate Blanchett 3

Day 316: Portrait of Cate Blanchett, by David Rosetzky

David Rosetzky challenges the notion of portraiture and extends the possibilities of the genre in the new digital age.

His HD video Portrait of Cate Blanchett moves beyond being a static, two-dimensional image that we usually associate with the genre, and instead captures the actress’s movements, gestures, and voice.

The portrait appears as an inner monologue where Blanchett, in a voiceover, considers her approach to acting and choosing roles. She moves around the stage as if predominantly unaware of our gaze, at times pausing in silent contemplation, or breaking into a seemingly impromptu dance routine. The eye contact with her audience is rare. As the result we become the voyeur, the spectator, and the confessor.

David Rosetzky’s Portrait of Cate Blanchett is on view in the exhibition Ourselves, at the ACCA, until November 25.

http://davidrosetzky.com/http://davidrosetzky.com/work/portrait-of-cate/

http://www.accaonline.org.au/

[© Eugene Barilo von Reisberg 2012; where applicable, images are courtesy of the artists and their galleries.]

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17
Feb
10

Caring for Aehee @ Cowwarr Art Space

Aehee - Self-Portrait  from "Caring for Aehee" series(cont.) Friday, 11 February 2010

Dear Diary,

As mentioned previously, the Cowwarr Art Space also includes a number of self-contained artists’ studios and cottages, which over the recent years have attracted interdisciplinary artists from around Australia and overseas. One of the latest artists-in-residence was Aehee, a young photographic, conceptual, and video artist from Korea. One of her works, a video collage from the series Caring for Aehee, is currently projected in the exhibition space.

Caring for Aehee is an ongoing project where the artist moulds herself to wishes, ideas, and directions of others. She spent a year being ‘cared for’ as a house pet, and another year as a model. The current projection is the extension of the latter body of work. If preceding video projections and stills documented Aehee being dressed, made up, directed, and posed by others, this video turns attention away from the model and concentrates on the photographer. The work collages the videos of professional and amateur photographers (including myself) directing Aehee as she poses for the camera.

Aehee - as directed and photographed by me in "Caring for Aehee" projectOne of the most revealing and unexpected aspects of the video is how similar were our directives to Aehee – notwithstanding our level of professionalism (or lack thereof), age, gender, or cultural background. There are consecutive sequences, which show photographers asking Aehee to smile; to take two steps back; to raise her hands; to lean this way or that. Another sequence records the exclamations of self-satisfied delights with our own work – as well as with Aehee’s ability to follow our directions; words like wonderful, perfect, great, etc., are repeated ad infinitum in a whole spectrum of voices and accents. The video collage is an interesting study in the nature of human identity and – despite the obvious differences – preconditioned societal similarities among us, as if there are only that many ways in which one can (or knows how to) direct a model.

The work made me think of Kristin Headlam’s series of “bridal paintings”, where the focus was not so much on the bride or the groom, but on the photographer, and the interactions between wedding photographers and wedding parties. In the similar vein, Aehee’s innovative work concentrates not on the model but on the photographer, objectifying the objectifier.

[© Eugene Barilo v. Reisberg 2010. This article is copyright, but the full or partial use is WELCOME with the full and proper acknowledgment]




Eugene Barilo v. Reisberg

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