Last Call: Literature

Final week:  Orwell No.2, Murakami No.1, ee cummings, Hunter S. Thompson No.1, Gertrude Stein No.1, Hunter S. Thompson No.2. Order here.

Last Call: Film & Television

Final week:  Cusack (Dobler) No.1, Godard No.1, Cronenberg No.1, Harold and Maude, Don Knotts No.1, Harold et Maude. Order here.

Last Call: Comedy

Final week: Mitch Hedberg, Bill Hicks No.2, The Dude, Bill Murray No.1, Andy Kaufman No.2, J.J. Walker Order here.

Last Call: Music

Final Week:  Mick Jagger No.1, John Lennon No.1, Lou Reed No.4, Jeff Buckley No.1, Leonard Cohen No.2, Grandmaster Flash No.1. Order here.

Last Call: Literature

Final week: Kurt Vonnegut No.1, Pablo Neruda No.1, J.D. Salinger No.1, Philip K. Dick No.2, Pablo Neruda No.2, Edgar Allan Poe No.1. Order here.

Last Call: Film & Television

Christopher Walken No.3, Sam Peckinpah, Woody Allen No.1, Toshiro Mifune, Vincent Price, Kevin Spacey. Final week for all of the above graphics.  Order here.

Lake Travis Northshore

Last evening during a walk…
 
 

Displacements film installation

Displacements / Displacements 2005

Displacements is an immersive film installation. An archetypal Americana living room was installed in an exhibition space. Then two performers were filmed in the space using a 16mm motion picture camera on a slowly rotating turntable in the room’s center. After filming, the camera was replaced with a film loop projector and the entire contents of the room were spray-painted white. The reason was to make a projection screen the right shape for projecting everything back onto itself. The result was that everything appears strikingly 3D, except for the people, who of course weren’t spray-paint white, and consequently appeared very ghostlike and unreal.

Displacements was produced three times between 1980 and 1984. By the third time, at the San Francisco Museum of Modern Art in 1984, it was done.

Twenty-one years later, in 2005, my long-time friend and colleague Brenda Laurel cajoled me into a redux. The young couple in the original living room are now middle age with a teenage daughter. Mom is still pensive, Dad still watches TV, and the daugther is curious. Displacements 2005 was shot and projected in digital video rather than 16mm film, which, it turns out, was much more challenging.

Displacements – Michael Naimark from today and tomorrow on Vimeo.

See also:

“Two Unusual Projection Spaces”
Presence journal, Special Issue on Projection, MIT Press, 14.5, October 2005.

“Spatial Correspondence in Motion Picture Display”
SPIE Proceedings, vol. 462, Optics and Entertainment, Los Angeles, 1984

Exhibitions

Naimark 1977-1997 Exhibition, Art Center College of Design, Pasadena, 2005

“Displacements,” San Francisco Museum of Modern Art, San Francisco, 1984

“Movie Room,” Center for Advanced Visual Studies, M.I.T., 1980

“Beyond Object,” Aspen Art Museum, Aspen, 1980

Original Credits

Concept and Production: Michael Naimark
Special Advisors: Patty Graves and Bob Armstrong
Performers: Madelyn Morton and JC Garrett
Photography: Scott Fisher

Supported by the MIT Council for the Arts, the NEA Media Arts Fellowships, the Society for the Encouragement of Contemporary Arts of the SF MOMA, and Austin Conckey.

2005 Credits

Thanks to Stephen Nowlin, Julian Goldwhite, Peter Lunenfeld, Nikolaus Hafermaas, and Nate Young; Peter Di Sabatino, Brenda Laurel, and Katelyn McDougle; Matthew Biederman, Bernie Lubell, Matt McKissick, and Ludmil Trenkov; and Mark Bolas, Paul Debevec, and special thanks to Perry Hoberman

via Dembot