Uncle Bob and guest

* The house was packed on opening night. Thanks to Danielle Abrams aka Uncle Bob for an entertaining performance, and to her guests for their thoughtful responses.

The Solmi Family

* Federico Solmi and Nanna Debois Buhl had the opportunity to talk with Uncle Bob and the audience about their work. Congrats to Federico and Jennifer on their new addition to the family, little Luca!

Stills from Kelley's video "Big Gurl"

* Just before the festival began, Houston resident and participating artist Lauren Kelley, was without power  due to Hurricane Ike. Best wishes to you and the city of Houston. Get the Bones… was well received and we look forward to seeing more of your animations in the future.

* Coral Short traveled from Montreal to perform at the festival. If you missed Short last Thursday, you can watch a video of her performance on Maya’s blog. Thanks Maya Suess for all of your hard work.

 

Still from Silver's "in complete world"

* Shelly Silver introduced her piece “in complete world,” which screened almost simultaneously in Brooklyn at Video Dumbo. As many viewers said, it was the perfect precursor to the McCain/Obama debate later that night. Thank you for making this important piece, Silver.

* Thanks to Carol, Dan and Hans at Harvestworks for hosting the festival, and to the fabulous interns that assisted with the events.

-Nicole

Shelly Silver, "in complete world" (still).

Fast forwarding to the last night of the festival, works by Tommy Mintz, Lilly McElroy and Shelly Silver comprise the program for Friday, September 26th. These three artists use video to document transient moments on city streets, subsequently allowing viewers unique and varied perspectives of human interaction (or lack thereof) in a metropolis. Mintz sells his Public Toilet Map in Times Square; McElroy gives unsolicited hugs on the streets of Chicago; and Silver (along with her crew) conduct street interviews throughout New York City, asking rather simple questions that result in a complex and often humorous narrative about the current political and economic climate. Silver’s brilliant feature-length documentary, titled in complete world (2008), will close the festival; this is only the second public screening of the artist’s most recent work.

Silver is a New York based artist whose work spans a wide range of subject matters and genres in her exploration of personal and societal relations that connect and restrict us; the indirect routes of pleasure and desire; the stories that are told about us and the stories we construct about ourselves.

Shelly Silver, "in complete world" (still).

in complete world  takes the tension between individual and collective responsibility as its focus and mixes political questions like “Are we responsible for the government we get?” with more broadly existential ones, such as “Do you feel you have control over your life?” and “Are you satisfied?”

Shelly Silver, "in complete world" (still).

Silver says, “The film can be seen as a user’s manual for citizenship in the 21st century, as well as a glimpse into the opinions and self-perceptions of a diverse group of Americans. It is a testament to the people of NYC in this new millennium, who freely offer up thoughtful, provocative and at times tender revelations to a complete stranger, just because she asked.”

Shelly Silver, "in complete world" (still).

Silver has exhibited at local and international venues, including MoMA, The PompidouCenter, The Kyoto Museum, the London Institute of Contemporary Art, and the London, Singapore, New York, Moscow and Berlin Film Festivals. She attended Cornell University, graduating in 1980 with a B.A. in Intellectual History, and a B.F.A. in Mixed Media. She subsequently attended the Whitney Museum of American Art Independent Study Program. Silver currently teaches at the Cooper Union for the Advancement of Art and Sciences and in the MFA Department of Photography and Related Media, School of Visual Arts.

"American Vernacular" (still)

The current state of George W. Bush's effigy.

Brown writes:

Recently I’ve been thinking about the objects and images we make culturally as wishes [for what we want in reality]. In making American Vernacular, I wanted to animate figural decor objects so that their latent psychological content could be foregrounded.

A composite of images from the Oval Office video. Top left and right, Clinton; Bottom left and right, Nixon.

Currently I’m re-editing a piece about the color symbolism of the decor of the Oval Office. I’m also working on a video in which I make an effigy and perform a ceremony to spiritually heal George W. Bush (both projects pictured here).

Patrick Bergeron is a video artist that ”manipulates images and enhances their meanings.” He is interested in concepts of speed, memories and details. His work is a mix between, animation, abstract and documentary film. For the last 15 years, he has worked for the film industry as a digital artist (compositor), including some of the most challenging shots on films like The Lord of the Rings and The Matrix. Bergeron’s piece LoopLoop will screen tonight, September 24th (7-8pm).

He writes:

I was musician making noise. I studied physic engineering…did a master degree in aerospace…suddenly decided that it was not what I wanted…I became a computer geek, administrating computers and networks. I built web sites…I started to help artists on software…I started to use them…I started to work on TV shows and feature films as compositor…I traveled 6 months in Asia and develop my camera skills by shooting little moments and objects that I saw everyday. My tools are the camera, the computer and my sensibility. I’ve never had the chance to draw, paint or to do sculpture.

This 5 minute video loop is made from a video sequence I took in a train going to Hanoi in Vietnam, I filmed the houses boarding the railroad. The 1000 images of this sequence have been stitched into one long panoramic image. Into this long still image, I integrated other moving elements and built smooth transitions over it. The soundtrack is composed of original recording sounds in which noises warp as time shifts. 

While traveling in South-East Asia, I captured the day to day events, places, and people I encountered. When I came back home, many experiences had already been forgotten. My brain failed by the abundance of the subjects met. When I look at the video tapes of my travels, I remember those past events. My memory is activated by these images. By watching them several times, I detect new interesting facts; a dog hidden in a corner, a sign on a wall, a strange person. For now on each one of these new details, unperceived before, takes part and contributes to my memories and souvenirs.

I hope you enjoy the video version of my project!

I’m presently working on a few single-channel videos and installations. In my next project sound and music will be a big part of the creative process. By working again with sound and instruments, I’m closing a loop…I’m still a musician making noise.

Uncle Bob and Maureen. Photo by Tommy Mintz.

HELLO LADYMEN & GENTLE PEOPLE!!!!!!!

I can hardly wait to see you at the opening night of the Harvestworks Video Art Festival, Near Sighted-Far Out, and my first time ever veejaying. Although veejaying will be a new task for me to master, I trust that my many-some-odd years of schticking in the Borscht Belt, as well as having a high powered executive position for the U.S. government has adequately prepared me to do a superb job! And how could I fail with a marvelous and effervescent audience such as you??

First, we have a magnificent and highly talented group of VIDEO ARTISTS whose work will be showing.  These include Elizabeth Axtman, Alan Calpe, Nanna Debois Buhl, Brendan Fernandes, Natalie Frigo, Stephanie Hough, Amy Lynn Kazymerchyk, Jefferson Pinder, Federico Solmi, Donna Szoke, and Traci Talasco.

Then my right and left arms for the evening–THE VIDEO RESPONDENTS. They include a dynamic array of multi-talented, daring, darling, and delightful EXTRAORDINARY EVERYBODYS!!!!! They are masters in their fields; I have had one-on-one and eloquent conversations with them on everything from money matters to menus. They have consistently impress me with their diligence, charm, and positive attitudes. I would ask any of them in a split second to be a member of my staff.

Uncle Bob, Mom and Tarique. Photo by Tommy Mintz.

So, without further ado, let me tell you WHO THEY ARE:

LAUREN ABRAMS
Is a permanent fixture on The Uncle Bob Show. Whether in a pink feathered dance costume or a sequined evening gown, Lovely Lauren wrangles wallflowers to the dance floor, hands out prizes, dyes Easter Eggs, pops popcorn, and decorates Uncle Bob’s sets with festive signs and decorations. She is a generous, loving, devoted cutiepie of a granddaughter to her sister Danielle and to Uncle Bob.

JORDAN BELKIN
Is the founder of “Stand Up for a Cure.” This organization raises awareness and money for cancer research. This September, Jordan produced a fundraiser featuring the Dave Matthews Band at Madison Square Garden. Jordan is a nurse at Sloane Kettering Hospital. He knows many celebrities in the entertainment industry, and is a mensch of a grandson!

SETH BOIGON
Has discerning taste buds and can shepherd you to the cheap, tasty, yummy-in-your-tummy restaurants throughout all 5 boroughs. I have personally never experienced a loss of protein in my dinners with Seth and he has a sharp mind for numbers including the tip. Seth is a geriatric social worker, the “king of oatmeal,” and a true-blue movie buff.

MAUREEN CONNOR
Is the best dressed dame that anyone would ever know! Ask her all about those downtown sample sales. Maureen calls herself a video and installation artist but she is also a good listener who asks challenging questions. Maureen has exhibited her work all over the world and is about to travel to Romania, where she will be launching a collaboration with the Institute for Wishful Thinking at Periferic 8: Biennial for Contemporary Art. Maureen is a veteran on The Uncle Bob Show. She just can’t seem to get enough Mountain Dew and Mallomars!

STEVEN G. FULLWOOD
I’m sorry to say that Steven–that dynamic librarian and writer (who’s also a great dresser!) –won’t be able to join us tomorrow. He’s got a pinched nerve. Rest up Steven and we wish you a quick and thorough recovery.

TOMMY MINTZ
My longtime work partner, Tommy is a faithful employee of the Uncle Bob staff. (He is currently storing my Xerox machine.) Tommy takes snapshots of all of my dance lessons, speeches, meetings with important people (like those pictured above) and somehow manages to print my photos on the spot. Not only is Tommy a bright young man, he is a true magician! A native New Yorker, Tommy has designed published and sells the first ever NYC Public Toilet Map. Graphed from personal experience in our city’s toilets, he does the dirty job of rating their quality.

MARGARET ROSE VENDRYES
Was once Uncle Bob’s boss at the City University of New York. They both left CUNY! Margaret was always pleased with Bob’s job performance, so much in fact that she has agreed to join the Uncle Bob Family. I am impressed and astounded by Margaret’s paintings of African American singers wearing traditional African masks. And like Uncle Bob, Margaret also puts on a show or two. She is currently curating a collection at the Amistad Research Center at the New Orleans Museum of Art that will open in 2009.

JUSTIN WEDES
Now here’s a young man that put the “men” in mensch. He is a klezmer with Motown in his ears, and plays the accordion as well as all sorts of other instruments–even the kazoo! Justin is a recent transplant to NYC from Detroit so be sure to bring a sign to the show reading: JUSTIN WEDES—UNCLE BOB WELCOMES YOU TO THE BIG APPLE!

TARIQUE WILLIAMS
Also a returnee to The Uncle Bob Show, Tarique is a devotee to the Dancing on a Cloud repertoire. He has done some fancy footwork on many a Conga Line and has been a fine participant in my Macarena lessons. Tarique is 12 and just started middle school. He is a poet who doesn’t take himself too seriously, and recently caught a baseball at a NY Mets game.

And last but not least…UNCLE BOB (aka Danielle Abrams)
I am proud to tell you that I’ve been a ballroom dance teacher and a Regional Administrator for the U.S. government’s Department of Labor (D.O.L.) for 40-some-odd years. I also compiled the vinyl LP titled It’s Like Dancing on a Cloud with Bob and Doris. Doris is my wife.

My granddaughter Danielle, also in the entertainment business, has taken a few dance steps where I left off. Together we host dance lessons, Champagne Hours, and even allow for an unsuspecting appearance at a family gathering or art opening. Having met such superb and scintillating celebrities through our social networks, we have been so delighted to create a venue where we could schmooze, snooze, nosh, and have a little chat. This, of course, being The Uncle Bob Show! Our first of many Uncle Bob Shows took place at The Jewish Museum last March as part of Andrew Ingall’s curatorial project, Off the Wall Artists at Work. See the movie here.

We had such a marvelous time with our guests at The JewMu that we decided to present them to you again at Near Sighted-Far Out. This time, rather than showing you what THEY DO, our guests will talk about what YOU DO; be prepared VIDEO ARTISTS for ingenious responses to your wonderful creations that our guests are preparing to present!

Can’t wait to see you all…and be sure to have your tummy ready for yummy yummy popcorn!

Your Uncle,
BOB

Born in Kenya of Indian heritage, Brendan Fernandes immigrated to Canada in the 1990s. He completed the Independent Study Program of the Whitney Museum of American Art in 2007; earned his MFA in 2005 from The University of Western Ontario; and his BFA  from York University, Canada in 2002. Accolades include grants from The Ontario and Canada Councils for the Arts, including the International Residency in Trinidad and Tobago. Fernandes currently works between Toronto and New York. His new video Foe will screen at Harvestworks on Wednesday, September 24th (7-9pm).

Fernandes writes:

“As a Goan who has never set foot in Indiamuch less Goa, and as a Goan-Kenyan who has lived the greater portion of his life in Canada, having left Kenya at a young age and currently residing in New York, I wonder what to call myself? The work Foe represents video footage of me receiving lessons where I have hired an acting coach to teach me the “accents” of my cultural backgrounds. I am not interested in the authenticity of these accents but in the idea of being taught to speak in these voices. This work is compelled by a personal narrative of my time in Kenya. Growing up there as a child, I used to speak Swahili fluently, but after having lived in Canada for twenty years now, I cannot speak the language anymore. My realization of this came when I was given the opportunity to speak with my caregiver, a woman who looked after me and whom I considered my second mother. After years of being away, our phone reunion concluded that I could not form the words to speak to her; I had forgotten the language. Although traumatic, this event has made me question my migration and ideas of who I [am or] have become since leaving my place of birth.

The text that I am speaking is taken from a book with the same titled as my piece. This book, a sequel to “Robinson Crusoe” was written by J. M. Coetzee. In this book, Friday (the savage) has been mutilated; his tongue has been removed and he cannot speak. For this work I have memorized the specific passage where Crusoe explains this to another.

The video depicts my struggle to learn the accents that are supposedly a part of who I am. Throughout the video are cuts that include my rehearsal of the script where I am learning the accents, as well as movement exercises in which I am training my mouth to articulate the accent’s pattern and sound. The work is humorous as well as critical; I am questioning my authenticity to my place(s) of origin. The metaphor of Friday having no tongue is uncannily similar to my inability to speak any of my native “tongues.” My tongue in a way has been removed. What does this say about who I am?”

Fernandes has exhibited internationally, recently participating in The Third Guangzhou Triennial, Guangzhou, China (2008) and the Western New York Biennial through The Albright-Knox Art Gallery in Buffalo, New York (2007). This year alone, he was a resident artist for the Lower Manhattan Cultural Council; Emerge 10 at Aljira in Newark, New Jersey; and in the graduate program for Computer Arts at the School of Visual Arts (New York). He is represented by Diaz Contemporary Gallery in Toronto.

Amy Lynn Kazymerchyk is interested in the physical, tactile and collaborative aspects of experimental filmmaking. Her films and videos have screened at the Cineffable Lesbian Film Festival in Paris, The Boston Underground Film Festival, and the Women’s International Film Festival in Seoul to name just a few. Kazymerchyk’s film What Don’t you understand about “I’m leaving…again’?” will screen at Harvestworks on Wednesday, September 24th (7-9pm). The piece (pictured here) recently won the award for Best Cinematography at the 50/104 Festival in Saskatoon.

"I'm Leaving Again..." (still)

Kazymerchyk writes: What don’t you understand about “I’m leaving… again’?”is a non-linear rumination on catching oneself between the headlights of cowardice and conviction. The visual narrative, presented in two parallel images, captures the protagonist at a crossroad in the act of resolving either to run away- in the one frame, or run towards- in the other. Quiet gestures and fragmented reflections contrast and concord to illuminate the quelling of her psychic battle. Brash releases of humour, irony, allegory, and cynicism clash and tear up against a raw and cutting soundtrack composed by Canadian singer songwriter Rae Spoon, and pedal steel player Aaron Joyce. Between a rock and a hard place, [performer] Ila Kavanagh carves a refreshing edge to her dynamic evocations of hopelessness, resentment, shame, fear, hope, love, rage and desire. I’m Leaving… is a subtly confrontational wake up call for those who can never seem to stay, nor fully walk away.

Kazymerchyk began the process of making the film with a rough sketch of an idea-in this case the experience of running towards and away from a place, person, or experience at the same time. She then pulled the actors, musicians, and production assistants into the film’s development and facilitated a collaborative process. The location was chosen and then every scene was scripted on location the day of the shoot. To prepare for the shoot, Kavanagh made a mixed CD with one song for every emotion she and Kazymerchyk had brainstormed to invoke fleeing and returning. Before each shot Kavanagh’s would listen to a track on a discman and improvise an emotion-fear, jealousy, resentment, sorrow, joy, lust etc in front of the rolling camera. The entire film was shot on 15 minutes of Super 8 film, and almost every single shot appears in the final cut. The final scene in which Ila hands herself a balloon was constructed on the spot, after a last minute impulse to buy helium balloons on their way out of town to the shoot. Balloons figure prominently in Kavanagh’s own paintings and drawings, and are an important symbol in her own life. The finished film, edited and screened on digital video, is a balance of cinematic and digital movie making. Super 8 film offers Kazymerchykan opportunity to consciously and rigorously manipulate the aesthetics of the film grain, focal length, and sensitivity to light, while digital video allows her flexibility in post production sculpting, pacing, and framing.

Kazymerchyk is currently working on a personal essay in Super-8 film about Vancouver’s Downtown Eastside, Lower Mainland Gothic, and pre-Olympic destruction and development. As part of her curatorial endeavors, Amy recently inaugurated DIM, a monthly series of contemporary moving images and cinematic collaborations at the Pacific Cinematheque. She is also promoting and touring “Deep Lez Film Craft,” a retrospective of Allyson Mitchell and Christina Zeidler’s (Freeshow Seymour) film and video work; and celebrating the success of her second program for Vancouver’s Queer Film Festival, “How do you say Queer in French,” a survey of Radical Queer Francophone films and videos. Kazymerchykholds a Bachelor of Media Arts degree from Emily Carr University.

Maya Suess–assistant curator of Near Sighted-Far Out–lives in Brooklyn, NY. She recently relocated from Vancouver, BC, where she completed a masters degree in Contemporary Performance. Her work uses music, playful text and wry wit to examine issues of identity, sexuality and personal responsibility. She has shown her work in galleries, film festivals, theatres and underground sites in Europe, the United States, Canada and Japan. A recipient of the 2009 New York State Council for the Arts Independent Artist’s Production Grant, keep an eye out for her current work-in-progress It It and the Gimme Box.

Maya writes:

I’ve been having a lot of fun helping Nicole put together the work for this festival. I’m so impressed with the quality and diversity of work that is coming together; I guess I have Nicole and all the artists to thank for that. I’m excited about meeting many of the artists at the screenings next week, as well as getting a glimpse of the performances that are awaiting us.

I began working with video first as a documentary medium for my performances; I came to realize that the key to doing my type of transient work is to DOCUMENT EVERYTHING! There may be something romantic about a gesture that exists merely for its own sake, or an artistic movement that’s gone with the fleeting moment. However, since art is a mode of communication, I have come to believe that documentation is essential. Of course documentation functions as a sort of translation, and can never be expected to take the place of a live event, but it becomes a cipher to be decoded at another time and place. It creates a diaspora.

Near Sighted-Far Out is a reverse gesture to my video-documentation experience. Nicole and I have attempted to take works grounded in the carefully crafted medium of video and make them live. We see the three days of video screenings as events. Adding performances to the viewing space, and introducing a platform for immediate verbal response (as directed by the eminent Uncle Bob) we hope that our audience will be inspired to become active participants in each screening. Thus, seeing dynamically how the diverse videos still speak to one another. Perhaps we will document the interactivity of these events, and the video works will become performances that will turn back into videos and, like the game of broken telephone, we can enjoy searching for what’s lost in translation and revel in new meanings that are created. 

I look forward to seeing all of you there.  Feel free to bring your own documentation device and, most importantly, your critical and playful attention.

Axtman on the cover of the catalog for "Cinema Remixed & Reloaded".

Elizabeth Axtman lives and works in the California Bay Area. Born in 1980, she completed her BFA at San Francisco State University in 2004 and an MFA at The Art Institute of Chicago in 2006. Her videos have been included in important exhibitions such as Black Is, Black Ain’t at The Renaissance Society (Chicago, IL); Cinema Remixed & Reloaded: Black Women Artists and the Moving Image Since 1970at Spellman College (Atlanta, GA); Bare Walls, No Boundaries at the Wadsworth Antheneum (Hartford, CT); and Of Color at Rush Arts Gallery (NYC), which opens today. Her video “Where’s the Party At?” (also on view at Rush Arts) will screen at Harvestworks on Wednesday, September 24th between 7-9pm.

She writes for NSFO:

I began working in video when my relationship with photography seemed to be breaking down. I can’t recall how I decided to use video or where I came up with the idea to make my first–all of a sudden it, or I, was just there. I think I go through intense phases with a medium and then I just want a divorce. I actually consider myself a performance artist. However, ideas usually form in my mind with the video first, that is, behind the camera instead of in front of it. Video allows me to be a performance artist without ever actually performing for anyone, as they are created either in solitude or with a very, very small crew.

"Expletives Owed"

When I’m not the performer, I remix time-based imagery from pop culture. I turn into this mad scientist who puts things back together. In Expletives Owed (2008), the sister of a Jeffrey Dahmer victim begins to scream at the serial killer during the family testimonials. With the aide of Eddie Murphy, Richard Pryor, and Bernie Mac, I return her media censored curse words. Video helps me put things back where I believe they belong.

"Where's the Party At?"

The work showing in the video festival is Where’s the Party At? (2006). I dance around a burning cross in an all white Adidas track suit with matching Kangol hat to a song of the same title by Jagged Edge. This video was created during my summer at the Skowhegan Artist Residency in Maine. I knew going into the residency that I wanted to work on a piece about the Klan since Maine was the first state to hold an outdoor Klan rally. I thought of a bunch of different things I could do, but the idea wasn’t fully fleshed out until we had our first big bonfire. I thought it was beautiful and at that very moment, I said aloud “I wonder if they would let me burn a cross up here.” I asked thinking I would be instantly rejected, but I was met with a “sure”.

The piece itself is a satirical approach to the idea of “wholeness” [or purity] and who has the right to claim such a thing. It’s an exercise in the ridiculous, and about claiming a heritage that belongs to me by birthright even though it is on both sides of the burning cross. I will be showing up to the party regardless. One might even say, “crashin’ it”.

Nanna Debois Buhl, "There is This House".

If you’re walking up Broadway on September 24th between 6-9:30pm, you can catch a spectacular silent video by artist and filmmaker Nanna Debois Buhl, titled There is This House (2008), on a street level monitor. Give your self about 8 minutes to watch the piece before heading up to the screening on the 6th floor. 

Julia Brown, "American Vernacular".

Once you’re upstairs, walk down the hallway towards Harvestworks until you encounter American Vernacular (2007) by Julia Brown. Shot in a historic barn house in Maine, the video features a series of physical interactions in domestic settings, in which one person uses another as an object. Keep checking the blog for Brown’s own post about the video. 

Tirtza Evan, "Icarus".

The act of weaving in and out of scenes and moments [creates] cracks into which various characters slide, converge, or disappear. The landscape thus peels and unfolds, but never arrives at [an] intact moment of aspiration [or] origin. The piece is formally engaged with [ideas about] fragmented landscapes, using the camera’s movement as a means to comment upon-or occupy and thereby interrupt-that landscape’s social and political determinants.

 These three videos will be displayed on monitors in the building every night of the festival, though locations are subject to change.