Ben Masbaum

With this being my first blog for the IMA, I implore you to scroll away if you consider yourself one of those people who doesn’t particularly hold noobies in high regard. If you’ve stuck around, allow me to share a few thoughts on music videos as an art form.

I remember sitting in my living room when I was thirteen years old: voice cracking, flannel shirt around my waist with my combat boots on the coffee table and my mother urging me to wash my hair.  I couldn’t, of course, because I was busy watching MTV, pre-Real World and before the internet we know of today.  I would stare the wild camera effects of the music videos and think to myself, “Wow!  I love this!” It seemed easy to do and I wanted to be a part of it.

Fifteen years later, I’m about half-way there… with a bit of a different idea on the whole thing.
Music videos are a thirty year old venture that have gone from phenomenon to nuisance in the span of their lifetime.  I’ve seen so many mundane videos in the last ten years which only seem to be created to fulfill some pop star’s need to be seen on T.V. I actually believe that the music should support the video (Which I’ll get to in a bit).  That is it!

Enough about pop stars. Let’s talk about art. The music video as an art form can and should showcase the artist behind the camera and the artist at the editing table, as well as the musician (and in some cases more than the musician!) At the same time, the video should not lose track of the overall message.

It’s about experimentation.  Boundaries that cannot be crossed in conventional cinema are welcome in the music video world. An artist who is not crossing those boundaries is missing the point.  A great example is Michel Gondry.  Known for films like Eternal Sunshine of the Spotless Mind, Human Nature, and Be Kind, Rewind, Gondry also swims through the music video world. He has given mainstream videos a wake-up call and a smack in the face.  Here are some examples:

Occasionally, one will find collaboration between video artist and musician.  I’ve always favored this concept.  In fact, this an idea that I have put on my personal hit list.

However, one problem that can arise with this kind of collaboration is that the video art probably already comes with a soundtrack of some sort. If the artist decides to replace the music, the results can be drastically different. In the next example, the musical artist Kenna and video artist Mark Osborne team up on a video.  Kenna’s song “Hell bent”  is dubbed over an already existing clay animation short by Mark Osborne, called “More.”

The Kenna/Osborne collaboration is better, in my opinion.

Videomaker.com says that the primary goal of a music video is to serve the music artist.  I don’t completely agree.  I believe that this philosophy has turned the video into a showboat opp for musicians, not always in the best interest of the song and the story.  I think that the audience is fed up with artists in music bragging about themselves on this platform.  Aren’t they?  I certainly hope so. Sure, I believe that the video should exist to serve the song.  But perhaps the music can serve the video just as well.

You’ve probably heard enough of my ranting and raving on this matter.  I suppose it is up to me and others like me to step up and do something.  Not to toot my own horn, but I’ve already taken a stab at it.  This one is mine:

That’s right, we are thrilled to announce the arrival of 10 new partners on ArtBabble! Along with these new partners comes a whole new batch of art videos to check out. Good luck getting any work done today!

And, here is the definitive list of our official new partners:

• Art Institute of Chicago
• KQED
• MCASD – Museum of Contemporary Art San Diego
• Museum of Arts & Design
• Norman Rockwell Museum
• Rubin Museum of Art
• San Jose Museum of Art
• The Solomon R. Guggenheim Museum
• Van Gogh Museum
• Yerba Buena Center for the Arts

Enjoy!

But, you might be quick to point out, that’s yesterdays news.  And you’re right.

Goodies on ArtBabble

On Tuesday Kate wrote a brief news story on ArtBabble’s front page, so I thought I would expand on that.

What have we been doing since April?  A lot.  After the launch, we received a tremendous amount of requests on how to become an ArtBabble partner.  It was slightly overwhelming, but also inspiring.  We went through the process of assessing all of the requests, working closely with our original partners as advisers (actually setting up an Advisory Group), to identify the next steps and next batch of video content.  Since IMA staff run ArtBabble (kind of like a second job) we had to figure out the balance of growing ArtBabble and keeping up with all the other projects at IMA – the blog, exhibition(s) planning, video production, Flickr, an iPod Touch tour, grant writing, Bird cams, office pranks, meetings, you get the picture…This meant instead of adding 40 new partners at once, we had to consider adding in stages.  Somewhere in the middle of this, we added a new Goodies page on the site, and started a Play Art Loud Flickr group featuring AB bumper stickers.

So, the next step is a Phase Two launch of ArtBabble on Tuesday, July 28. Mark your calendars!  We’re talking lots of new partners, lots of new videos, and a more diverse selection of art content.  This Phase Two launch will be followed with more rolling launches as we’re able to manage the new partner relationships and content preparation for AB.  It’s all leading to what we hope will be the premier destination for viewing art videos online.

So, please feel free to help spread the word about July 28.  I would love to hear any comments, theories or suggestions for next ArtBabble steps. And we still have lots of bumper stickers.

More ArtBabble Goodies

In the midst of writing this post, I announced it on Twitter, soliciting questions about ArtBabble.  Below, you’ll find the list of some of those questions, with my responses.

Why create something new instead of just using a channel on YouTube? Long list of reasons – improved art search results, the prospect of creating an art-focused video community, the ability to create a space managed by museum professionals, incredible video quality, transcriptions, the Notes that appear to the right of each video, a chance to seize a real opportunity online….

How did ArtBabble get championed in-house and how did it get funded? We already had a successful  in-house video team, and were already developing Web sites in-house.  Max Anderson, Rob Stein and I had been talking about some version of IMA TV for a couple of years – ArtBabble seemed like the best approach (something more relavant than just IMA content).  Since video and web development were already a big part of IMA efforts, it was a pretty straight project forward to initiate. The site was developed entirely in-house by IMA staff, with support from the top down, and was funded by a grant from the Ball Brothers Foundation.

If y’all got any do-overs w/ respect to ArtBabble, what would you change? Such a tough question. More videos, and more partners, but this will take time.  And, I would love some Robot Art content (but that’s me).

How will the site evolve? In terms of content and partners, it will evolve through these rolling launches as quickly as IMA staff can handle this process.  The actual site will evolve with new features…but that’s further down the line.

Could a visitor contribute? Not right now (except for comments), but it’s something we’re thinking about.  So, who knows in the future…

Babble On!

]]> http://www.imamuseum.org/blog/2009/07/09/what-next-for-artbabble/feed/ 6 http://www.imamuseum.org/blog/2009/05/20/adaptation-artists-talk/ http://www.imamuseum.org/blog/2009/05/20/adaptation-artists-talk/#comments Wed, 20 May 2009 11:23:27 +0000 Noelle Pulliam http://www.imamuseum.org/blog/?p=4999 The Forefront exhibition Adaptation: Video Installations by Ben-Ner, Herrera, Sullivan and Sussman & The Rufus Corporation is being celebrated tomorrow night at the IMA with a talk with video artist Eve Sussman followed by a reception. Sussman is a leading figure in contemporary video art and has transformed the medium with her use of lavish production values and stylized methods of filming. If you are an emerging filmmaker, contemporary video art lover, or just curious, bring your questions. Tickets are free!

Guy Ben-Ner is another artist featured in the exhibition Adaptation. IMA Curatorial Associate of Contemporary Art Allison Unruh and I had the pleasure of asking Ben-Ner about his work earlier this year:

Interview with video artist Guy Ben-Ner

What first drew you to working in video?
When my daughter, Elia, was born I was still an undergraduate art student in Israel. I realized I could not spend much time in a studio anymore, with the demands of work, studies and fatherhood. I decided to work from home and include my cohabitants in my plans. To get a child involved with immediate video magic was quicker than working with marble and much cleaner than painting at home. Besides, for the narratives I started to be interested in, video seemed to me the best tool. I needed things that unfold in time.

In collaborating with your family on videos, how do you negotiate the roles of artist and father?
At the time, I worked hard to conclude that both are one and the same role – so I did not have to negotiate too much.

Your works in Adaptation take inspiration from Melville’s novel Moby-Dick and Truffaut’s film L’enfant sauvage (The Wild Child). Why did you choose to engage with these particular sources?
Moby-Dick was part of a few “sea adventure” narratives I was interested in at the time, partly for the escape they offer (you sail away, leaving the family behind) and partly for the Western mythology they take part in as creators. Truffaut’s movie interested me because I understood it not as a wild-child’s story but as a director’s account of what it means to direct a child actor – an act that can never be fully justified or moral. So I will not call them inspirations but rather tools that helped me tell my own stories in a fictional disguise. I used them rather than being inspired by them. But maybe that is the same thing?

For Wild Boy, you built a large-scale installation that echoes the set you created in your home where you filmed the work. How do you feel that this installation changes the experience of the video for the viewer?
It is comfortable. It suggests to you, the viewer, to lie down, relax and take your time – that’s it. I am usually not very found of video installations, and I can live with Wild Boy detached from the installation very peacefully. (View an excerpt from Ben-Ner’s single-channel video Wild Boy, 2004)

Can you tell us about the projects you are currently working on?
My next movie is being shot with the kind help of the people at Mass MoCA (Massachusetts Museum of Contemporary Art), where I will open a show [on May 23]. All I can tell you now is that it will involve a light airplane, a car, a double bicycle and two people. I hope that sounds intriguing enough.

It had always been our goal to create a website that we could share. One that would bring Art content from different places and perspectives together, easily accessed and found. We’ve been lucky enough to work with the New York Public Library, the Smithsonian American Art Museum, the Los Angeles County Museum of Art, the Museum of Modern Art, the San Francisco Museum of Modern Art, and Art21, with the promise of more content contributors & videos and a continued strive to improve the user experience by adding a slew of features over time.

The team that worked on ArtBabble spans many departments and areas of expertise, and external collaborators & partners. It’d be hard for me to articulate all aspects of this project. On ArtBabble, we pay a lot of attention to quotes and interaction. So I thought it’d be fitting to ask the crack team of art techies who have been working on this website what babbles they’d like to share. I’m not of fan of comment begging, but please leave your interesting tidbits here. Please, feel free to ask questions… we’ll answer them here as well.

In addition to Tyler’s post, Ms. Genger’s installation was also discussed in Interior Design and Ana Finel Honigman interviewed Ms. Genger over at Saatchi Online. Don’t forget Ms. Genger herself wrote a post for this blog back in December.

Almost the whole installation

Anyway, you might be surprised to hear that we actually considered the possibility of someone trying to climb one of the pieces, and more specifically the possibility of someone bumping into one and toppling it. Be warned, though, Ms. Genger is awfully clever and with the help of Larry Smallwood (a freelance project manager), an internal support system was engineered to prohibit this from happening. Without going into the details I can say it’s highly unlikely that one of these pieces will topple. But, please trust me on this one: don’t come over and “test them out” for yourself.

I bring this up as an example of how we spend a lot of time around here considering things that our visitor may not be aware of. We take seriously the representation and care of our artworks. In fact, to focus on complex installations like Ms. Genger’s this institution developed an interdisciplinary team dedicated to the care and representation of artworks that we consider “variable.” In short, we say that variable art is a term that defines art that possesses changing observable state.

While Ms. Genger’s artwork likely will not vary considerably while on view as part of the “Whole” installation, we’ve been thinking about what it will mean to separate our newest acquisition, “Len,” from this installation, and then represent it in a new location. Remember, we didn’t acquire the entire installation, just our new friend Len. You can see him in the picture above in the bottom right corner.

Anticipating the possibility of the IMA acquiring one of Ms. Genger’s pieces, Lisa Freiman and I sat down with Ms. Genger the day after her excellent Artist Talk. We excerpted a segment of what conservators call an “artist interview” to hear Lisa talk about one of the reasons she was drawn to Ms. Genger’s work; you can here that excerpt on the “Whole” web page. The excerpt picks up in the middle of the conversation in which Lisa is talking about why she let out a loud laugh during Ms. Genger’s Artist Talk.

In case you’re really interested in the artist interview, here it is in entirety:
Download audio file (interview_with_orly_genger_and_lisa_freiman_and_richard_mccoy_11_21_08_32k.mp3)

In the interview I try to cover as many technical aspects of her work as possible. Art conservators are constantly researching from what and how art is made, and what better time to figure all of this out than just after art is made? Just think if there were recorded conversations with some of your favorite artists from the past. Those sure would help conservators out a lot.

But doing an artist interview is just one of the things we do to gather information about contemporary projects. While the project is being planned we’re constantly collecting information and images that describe and define it the process and final product. The hope is that this information will be useful the next time an artwork is installed, be that next year or 100 years from now.

Here’s something from the Genger project I find particularly interesting and helpful.

Artwork Installation Plan

It’s a plan drawing that illustrates the final placement of all of the pieces in the “Whole” installation. I won’t describe all of the details but it is important to point out that we worked hand and hand with Ms. Genger to make sure that the pieces were installed just how she wanted them, while at the same time insuring that we were providing proper access in the space for movement and egress. This is just a fraction of the information that the “Variable Art Team” collected during this project. In case you’d like to know more about this, I’d like to point you to a couple of great resources:

The Tate’s Media Matters project
The European Union project, Inside Installations
International Network for the Conservation of Contemporary Artworks (INCCA)

So, finally, I’d like to say, please be nice to Ms. Genger’s installation while it’s here at the IMA. And, I’d like to suggest one way for Tyler to get his hands on his own and very portable Orly Genger. He can go here and get one of her necklaces.

If you were out Sunday afternoon in Indianapolis and happened to see a sculpture flying mid-air across town, don’t worry — you weren’t imagining things.

The sculpture, East Gate/West Gate by Sasson Soffer took flight at around 6 pm and safely landed about ten minutes later. The work is one of four outdoor sculptures the IMA has loaned to Indiana University-Purdue University Indianapolis — otherwise known as IUPUI. Three of the sculptures were relocated earlier in the year, but East Gate/West Gate was too big to transfer via truck. Measuring 24 x 40 x 30 feet, the sculpture could only be moved via helicopter.

The IMA mapped a route along the White River that allowed for the fewest traffic interruptions, and the sculpture made a smooth landing with a welcoming crowd on IUPUI’s campus to greet it.

I bet you wish we had video of that, huh? Well, here it is, straight from the Nugget Factory:

The four IMA sculptures will join newly commissioned works of public art to be located along the Indianapolis Cultural Trail. The trail will connect neighborhoods, entertainment amenities and Indianapolis’s five downtown cultural districts. The western corridor of the trail, to be completed in 2011, will pass through the campus of IUPUI along Blackford Street and will run adjacent to two of the four sculptures from the IMA collection.

Sculptures on loan to IUPUI include:

East Gate/West Gate, 1973
Sasson Soffer (American, b. 1925)
stainless steel
24 x 40 x 30 ft.
82.56

Spaces with Iron, 1972
Will Horwitt (American, 1934 -1985)
cast iron and bronze
54 x 84 x 68 3/4 in.
81.220

Mega-Gem, 1989
John Francis Torreano (American, b. 1941)
heliarch welded aluminum plate, 36 cast aluminum anodized rosettes
7′2″ x 11′ x 7′2″
1997.6

Portrait of History, 1997
Shan Zou Zhou (Chinese, b. 1952)
Bronze
100 x 24 x 30 in.
2001.388

I searched the web for other interesting stories of relocating large pieces, but had a hard time finding anything. If you know of any, please comment about them. And if you have video or imagery — even better!!

A couple of weeks ago, I blogged about plans for The Davis LAB, and shared some early design concepts.  Well, on Saturday it opens and you can see it for yourself.  Phil & Noelle in marketing, just sent out a Facebook invite to all of the IMA Fans.  If you’re free on Saturday, stop by our new space to meet staff, check out the final designs, maybe get some free stuff and…that’s about it.

Computer interface for The Davis LAB -We have some amazing designers on staff.

Actually that isn’t it.  The opening of The Davis LAB is also your first chance to experience ArtBabble — our new online, HD, art video station/website – really, much more – a new way of experiencing video.  It’s currently in its Beta version with many of us (Marketing, Education, New Media, Application Developers and more) still tweaking, writing content, adding videos, finalizing design, etc.  In recent posts, I’ve preached a little about releasing sites or projects in a less than perfect state.  We’re doing the same thing with ArtBabble, but with a twist.

ArtBabble sneak peak - we've got great designers here

The twist is this.  If you visit artbabble.org – you get a sign in screen.  We’re being slightly protective about the site for the time being.  We are still making changes by the hour and importantly monitoring the quality of video delivery.  If you’re going to take the time to watch our brand new documentary on Maya Lin, a conversation with Robert Irwin (featuring our very own Richard), or relive some of the highlights from our Roman Art from the Louvre webis, we want you to experience this in 720p!  So, we’re releasing AB in its Beta state, where membership has its privileges.  Sign up for an account and we’ll gradually release access to ArtBabble with your own set of invites.  You can spread the love – kind of like you did when you got your Gmail account.

Or – if you can’t wait for one of the AB admins to release your account, you have (2) options.  The first, is visit The Davis LAB starting Saturday and beyond.  We will have the unrestricted version of ArtBabble running in the space on a projector or our computer stations.  You can Play Art Loud, select any of our videos, find the official defintion of ArtBabble – and send invites to your friends, families and fans – directly from the LAB.  Option (2) – If you live outside of Indy, have other plans or just want it now, leave me a comment.  I’ll look up your e-mail through Wordpress and send you an invite.  I have plenty.  Babble On.

Don't you want to send some invites?

2008 to me was the year video exploded on the web. After finally taking the plunge and cutting off my cable television lifeline I was forced to consume video over the internet. I must say, video on the web has came a long way. I’m conviced.

But there’s another reason I’m blogging about video on the web. I, along with the apps team, New Media department, and a big cross-departmental collection of individuals have been pouring our blood sweat and tears into a project which will bring high quality art video to you via the web. It seems like it has been a long journey, and we are on the cusp of launching this website in a matter of days. If you want a super sneak peek you can come to The Davis Lab, which will be opening this Saturday. Come check it out!

After watching the video below, you might want to consider abandoning the television set all-together. Btw, is this real?

Since video has become more accessible, new players are emerging beyond youtube. Now it’s a matter of focusing video content so you know where to go to get what you want. Take news websites for instance. Cnn.com and msnbc.com are streaming video like it’s nobody’s business and the quality is superb. Don’t even get me started on digital video delivery on hand-held devices such as the iPhone. All I’m saying is… Hulu/Apple, if you ever need a beta tester hit me up!

It wouldn’t be a post from me unless I dropped a load of links in it so in no particular order, these are some of my favorite video related sites: – Hulu, Youtube (duh!), Ted, Cnn, MSNBC, Vimeo, Viddler, Funny or Die, Adult Swim, FWA Theater, Current TV, and Vidlivery (A blog about video on the web). I know I’ve forgot some other great ones, but there is an inauguration streaming on our Mac so I’ll stop… please forgive me, and feel free to add your favorites via comments.

plenty more here

I’m in no way comparing our new site with Lolcats. But they mentioned a strategy that we have directly copied with European Design – and will be doing so with a another ‘art video’ site later this month. They shared with the packed Austin, TX audience (munching on cheeseburgers), that with I Has a Hotdog! they very quietly released the site. No major marketing campaigns, no online ads, no webcasts – you get the picture. It launched and they watched. They watched it gain traffic, made changes and waited. We’re doing something similar with European Design.

European Design Since 1985: Shaping the New Century

This exhibition opens March 8, so in the weeks leading up to this opening, you’ll begin to see more marketing strategies associated with the exhibition and this new site. This will include print pieces, billboard, e-mails, etc. This is one of the earliest site launches ever done by the IMA and the site is still incomplete. I don’t see a problem with that.  With our projects, we often wait until the very last moment – or when we feel that it has reached the ‘perfect’ level.  I’m all for taking a more informal approach to what we publish.

We will be adding Designer Profiles on a regular basis between now and the run of the show. We will be adding audio and video content. And we have a couple of tricks up our sleeves for other content ideas. Some IMA staff have posted this site on their Facebook walls, e-mailed friends, or tweeted. You may have found it within IMA’s main site.

Now I’m letting the lolcat out of the bag – blog style. Come see a site that will keep getting better and before the real marketing campaign begins. It’s like a band that’s on the verge of making it, and you can say, “I knew it when…”