Archive for January 17th, 2012

old work new views

January 17, 2012

what else is there to do on this rainy grey day. my honey is out at the house and i am here. so i’ll just try and catch up on stuff i’ve been meaning to do but other things got in the way. a few days ago, maybe it was weeks as time and to do list come and go. i do get a good snuggly feeling when i get things done in  my life and then there is always more. i guess never rest for a creative i am not one to sit and relax. altho sitting in front of the warm fireplace today would be nice, but here i am staring at a white screen trying to fill it with black marks.

i decided to expand my Model Mayhem portfolio from a free site to one i pay for. not that i get any work from the site nor do man would be models line up for me to shoot them. i guess i am like a scotch an acquired taste.but i decided to put up some fashion images i had shot maybe years ago just to expand my client base, ha ha. so far it hasn’t worked.

but to those who follow this blog i often go through old shoots looking for new stuff which i did to add to my portfolio.

wedding dress

black & white

btw way she hated these images maybe not these one but for most of the shoot she had her eyes looking down as asians are taught, when i mentioned it she said her dance teacher told he the same thing. i thought the clothes lovely and tried my best but she wasn’t a happy camper.

low keyed fashion

coyly

so these are just a couple of fashion images i loaded on to Model Mayhem but going thru my hard drives, of which i have a few, i looked at rachels folder. she is a nude new york model/student making her way through school, where i found these lovely images which also fill out my new quest to do fitness images.

nubian princess

on ever shoot i find something about the model that i find interesting, there isn’t that many things about a nude body that’s special yet i find them and that’s what keeps me doing them. here is one i really love

Hands

i love those hands

semi yoga pose

this one i put as my avatar on Mayhem thinking it was safe but lovely with good definition on her back. i don’t mind shadows.

forward bend

another skinny dancer model that i love the definition in her body.

nude dancer

dancer in red

but some images and this is the only image from this shoot i like, working with amateurs doesn’t always work out. but this one i enjoy maybe because to me it tells a story.

waiting

i get click throughs on this blog to a lot of these nude images so i have to wonder if only males do google nude female searches or does that matter. what do they do with them?  i know of other togs who actually get work from their facebook pages, not too many but some. me i avoid facebook when ever possible. these images would never make it on facebook. i’ve already been restricted on Flicker and i’ve no idea why even through they sent me an email explaining what to do. it was a long explaination.

oh well

another ghost in the machine

so that’s it for today, the ravings of a artist photographer. thanks for stopping by.

jene

Hey folks we need some help here stop SOPA, PIPA contact your congress person

January 17, 2012
SOPA, PIPA opponents prepare for Capitol Hill piracy showdown

by Kenneth Corbin, CIO   Jan 17, 2012 10:00 am

Opponents of controversial anti-piracy legislation are gearing up for a major fight in both the House and the Senate as they press for support for an alternative bill they say would avoid draconian measures that, if enacted, could create major security vulnerabilities in the architecture of the Internet.

The two lawmakers leading the charge, Sen. Ron Wyden (D-Ore.) and Rep. Darrell Issa (R-Calif.), took to the Consumer Electronics Show in Las Vegas last week to press their case – a fitting setting, as the mammoth trade show gives an annual coming out party for tech firms’ latest innovations. The trade group that puts on the show, the Consumer Electronics Association, has been a vocal member of the lobbying efforts to oppose the Stop Online Piracy Act (SOPA) in the House and the Senate version, the Protect IP Act (PIPA), both of which the organization argues would impose dramatic limits on online innovation by exposing Web firms to excessive legal liability in the name of curbing piracy.

“We have been teaming up on this and have been working on this for some time,” Wyden said of his partnership with Issa, who in turn added that the two “in many ways are not predictable partners.”

Wyden and Issa are backing an alternative anti-piracy bill, the Online Protection and Enforcement of Digital Trade (OPEN) Act, a measure they say would create a more effective path for copyright holders to protect their intellectual property from foreign websites that profit from piracy, while avoiding the disastrous consequences they anticipate resulting from the enactment of SOPA or PIPA.

Although they vary slightly in their language, both SOPA and PIPA would empower the Department of Justice to seek an injunction from a federal judge against a foreign website that it considers to be primarily dedicated to piracy. If the judge agreed, Justice could then prevail on all manner of Internet players, including service providers, search engines, payment processors and ad networks, to cut off services to the offending site.

Critics of the bill, which include major Web companies such as Google and Facebook, have warned that in its efforts to crack down on overseas piracy, the legislation would inevitably ensnare legitimate websites in a form of censorship that would threaten to banish innovative and lawful companies from the Internet.

Additionally, a host of Internet luminaries and security experts have warned of the impact the legislation could have on the core naming and routing system of the Internet, creating the sort of network errors and insecurity that are common to the Internet landscape in authoritarian countries where state censorship is the norm.

“The biggest problem is the damage done to the domain name system [DNS] in these two bills,” Wyden said. Wyden, who serves on the Senate Intelligence Committee, said that the provisions that could jeopardize the DNS are at odds with the work that members of the national security community are doing to shore up the critical infrastructure of the Internet from cyberattacks. “Everything they’re trying to do in terms of cybersecurity is premised on the domain name system,” he said.

Wyden and Issa both stressed that they agree with the backers of SOPA and PIPA up to the point that online piracy and the trafficking of knock-off pharmaceuticals and other goods are real problems that deal a major economic blow to U.S. firms. But the consensus breaks down there.

The OPEN Act takes a far more limited approach, and places jurisdiction for complaints against foreign websites with the International Trade Commission, rather than the Justice Department and the federal courts. And instead of going after a wide range of Internet players in a bid to isolate the infringing site, the OPEN Act would limit the response to payment providers such as Visa and PayPal, choking off the sites’ influx of revenue.

While Wyden stressed the security concerns the members have with SOPA and PIPA, Issa called the bills’ language on jurisdiction their “fatal flaw.” He argued that the ITC is a far better venue for handling overseas infringement claims for a variety of reasons, including language in the OPEN Act that would ensure a continuity among the judges who handle such cases, compared to the merry-go-round of judges on the federal bench that could be involved.

Additionally, he suggested that the ITC is a more favorable venue for small content owners to assert their IP rights both because its process is faster than U.S. courts and litigation is less expensive, claims that SOPA supporters dispute.

“You can, in fact, get justice at a very reduced cost. Theoretically you could get justice without an attorney,” Issa said. “We’re not claiming that the ITC is perfectly prepared. What we’re saying is there’s a better solution and it ought to be considered.”

In broad strokes, the battle lines over online piracy legislation have pitted content-oriented industries such as film and music against Web firms and open Internet advocates, though each side has marshaled a long and diverse list of stakeholders to support its position.

Some of the most outspoken critics have thrown their lot in with the OPEN Act. Google, Facebook, Twitter and other members of the Net Coalition advocacy group have delivered a letter ( PDF) to Wyden and Issa endorsing their legislation.

“This approach targets foreign rogue websites without inflicting collateral damage on legitimate, law-abiding U.S. Internet companies by bringing well-established international trade remedies to bear on this problem,” the companies wrote.

The debate over the competing anti-piracy measures is on track to flare up in short order after Congress comes back in session later this month. Issa has scheduled a committee hearing Jan. 18 to focus on the national security ramifications of the IP legislation under consideration. He said that he plans formally to introduce the OPEN Act, the drafting of which has been the subject of a crowdsourced debate on the Web, the day before the hearing.

Issa said that House Judiciary Committee Chairman Lamar Smith (R-Texas), the lead sponsor of SOPA, has signaled that he intends to introduce a manager’s amendment that will amount to a “major” overhaul of the bill in its current form, but that he had not shared a draft with other committee members.

A spokeswoman for Smith did not respond to a request for comment on the status of the bill or the criticisms of its provisions, but had previously confirmed that the committee will renew its work marking up the legislation shortly after the holiday recess.

In the Senate, PIPA is scheduled to receive consideration on the floor Jan. 23 and 24, a debate that Wyden hopes to derail with a filibuster.

Both Wyden and Issa cast their campaign as something of a David vs. Goliath struggle, as opposition to SOPA and PIPA has been largely at the grass-roots level, stoked by Web firms that are outgunned in Washington by the deep-pocketed lobbies supporting the measure. Nevertheless, they noted modest success in peeling off some lawmakers who had initially signed on as cosponsors of the legislation, and hope that more will follow suit as they continue to sound the alarm about the bills’ provisions.

“I think it would be fair to say that our side has been fighting above our weight, and we are now moving into the last rounds and we’re still on our feet and there is tremendous support growing for our side,” Wyden said. “We’re up against the savviest, toughest, smartest lobbying folks around.”

macworld news

jene

Here it is again…. Armory Show and nine other art fairs in one city, poor tired feet

January 17, 2012

artwork: Installation view of the Armory show in New York City

New York City – These days contemporary-art fairs tend to travel in franchised packs. A large successful fair spawns parasite copycat fairs, and before you know it, you’ve got an art-fair fair. New York is having one this weekend. The Armory Show, March 8-11 1912 now in its 10th incarnation, is back, accompanied by nine younger, smaller, less prestigious fairs, the most ever. Those who make their way through all of them should be honored — like the seven-summits climbers who scale the highest peak on each of the world’s continents — or medicated for obsessive-compulsive disorder.

Given a downwardly spiraling economy that no doubt will affect all aspects of the art world, fairs included, this situation may be temporary. But even without the falling dollar and nervous hedge funders, there is a point at which critical mass fosters inertia.

There is nothing wrong with art fairs that fewer of them wouldn’t cure. Once, they were finite tribal rituals. Dealers around the world who didn’t see one another often would set up camp for a few days, experience the hive mind, exchange information (and goods) and network. The public came, first the frenzied-shopping few and the informed observers, then the general audience.

But these days, with so many fairs, dealers now see entirely too much of one another. They often spend most of their time at fairs or preparing for, or recovering from, them. And the fairs now run like clockwork, almost in their sleep, you could say.

artwork: At Michael Stevenson, hats by Meschie Gaba The Armory Show on Pier 94, for example, is in top form. It lacks the stylish comforts and city-wide branding of the Frieze Fair in London, but at least it is now being held under one roof, on one pier instead of two. And there’s always Chelsea, the world’s biggest nonstop art fair 30 blocks to the south. The Armory doesn’t have the balmy weather and exposed skin of Art Basel Miami Beach, but, hey, it is happening in March, not February — this year anyway. And while it lacks Art Basel’s older European dealers, with their booths full of choice modern masters, a sense of maturity seems to have settled upon the place.

And so it is that the Armory Show goes down very smoothly, not unlike the Whitney Biennial or last summer’s Venice Biennale. An air of orderly professionalism pervades; outrageousness of any kind is rare. There are no cringe-inducing moments, although the cluttered, quasi-Rauschenbergian installation cooked up by Assume Vivid Astro Focus for the exterior of the V.I.P. Lounge comes close

The show’s smoothness extends to the layout, which is surprisingly nonhierarchical, with more- and less-established dealers in larger and smaller spaces mingled throughout. Some booths are like large vitrines; you can see everything from the aisle. Others are like small galleries; you can walk in, browse and admire the furniture, which is sometimes as interesting as the art.

At Modern Institute, Anselm Reyle, Cathy Wilkes, Katja Strunz, Jim Lambie and Victoria Morton pursue different pictorial languages, from flat to sculptural, on the wall, on the floor and free-standing. (For more free-standing color, try Meschac Gaba’s knit hats as architectural models at Michael Stevenson, and, at Jack Shainman, Jonathan Seliger’s towering rendition of an Hermès shopping bag in car enamel on aluminum.) At Canada, Joe Bradley presents the fair’s most stripped-down, to-the-point painting: four panels of unpainted beigey vinyl titled “Bread.”

At Galerie nächst St. Stephan, the different concepts of painting all but come to blows, what with Imi Knoebel’s update of Russian Suprematism in beams of bright, anodized aluminum; Adrian Schiess’s wall-size, iridescent, lyrical abstraction (based on a photograph and printed by ink-jet); Helmut Federle’s wispy little abstractions, the result of time spent in Japan; and Adam Adach’s rough rendering of trash compactors hanging on a wall covered with newspaper front pages from around the world, each neatly shorn of images. Bjarne Melgaard’s parody of Neo-Expressionism snarls forth from several booths, while Jonathan Meese’s equally satirical version — more colorful than usual — chews up the carpet at Contemporary Fine Arts.

At Blum & Poe, Chiho Aoshima abandons her usual high-gloss surfaces to create a soft, cartoony, urban wrap-around mural on paper, melding photography and digital manipulation with clouds as old as Japanese screens. At Patrick Painter, Ivan Morley reiterates a mildly Abstract Expressionist composition (middle-period Guston) with thread, while Tim Berresheim uses ink-jet to print a frazzled, linear, computer-derived motif on wood. At Rivington Arms, John Finneran is painting stacks of things like trash cans and free-floating lips on metal with panache and humor, conjuring a cameraless Warhol.

At Murray Guy, a dozen large images by the German photographer Barbara Probst show the same woman photographed at the same instant from all angles, stretching one second into three-dimensional space, like Cubism. The galleries of Foxy Production and Marc Foxx have landed across the aisle from each other with large, competing sculptures by Sterling Ruby in vandalized white Formica.

artwork: At the Derek Eller booth, the manic master draftsman, Dominic McGill add a collage to his arsenal in “Moloch.?Nearby, at the Derek Eller booth, the manic master draftsman Dominic McGill also meditates on modernism past and future, while adding collage to his arsenal in “Moloch.” In this enormous, new, volcanic drawing-collage, the words of Baudrillard, Santayana, George W. Bush and many others collide and combust around a fiery newsreel-like cluster of magazine images, all red. Their shape is based on the flailing monster at the center of Max Ernst’s “Fireside Angel,” which was inspired by the rise of Franco. Mr. McGill has mustered a commensurately apocalyptic tone. He makes the end seem near, and for much more than just art fairs.

Another conversation concerns one-person shows. Some are little retrospectives, like the surveys of Eleanor Antin (Ronald Feldman), Adrian Piper (Elizabeth Dee), Martin Creed (Hauser & Wirth) and Jenny Holzer (Cheim & Read).  Other solos feature new, unfamiliar names. One of the best is at Hotel, a London gallery, which has devoted its small, black-walled booth to the elegantly goth paintings and also the sculptures of Michael Bauer.

Here is information about the art shows this weekend in Manhattan. Unless noted, all run through Sunday.

THE ARMORY SHOW, Pier 94, 12th Avenue at 55th Street, Clinton; thearmoryshow.com.

BRIDGE ART FAIR, New York 2008: the Waterfront, 269 11th Avenue, near 27th Street, ; bridgeartfair.com.

DIGITAL AND VIDEO ART FAIR, (DiVA) 2008 New York, White Box, 525 West 26th Street, Chelsea, and in shipping containers throughout the West Chelsea gallery district, 20th to 26th Streets, between 10th and 11th Avenues. (212) 604-0519; divafair.com.

LA ART IN NY, Altman Building, 135 West 18th Street; laartfair.com.

NEW YORK ART AND DESIGN FAIR, Park Avenue Armory, Park Avenue at 67th Street; www.newyorkdesignfair.com. Through Monday.

POOL ART FAIR, “Meet Me Here,” Hotel Chelsea, 222 West 23rd Street; poolartfair.com.

PULSE ART FAIR NEW YORK, Pier 40, 353 West Street, West Village; pulse-art.com.

RED DOT NEW YORK CITY, Park South Hotel, 122 East 28th Street; reddotfair.com.

SCOPE NEW YORK, Scope Pavilion, Lincoln Center, Damrosch Park, 62nd Street and 10th Avenue; scope-art.com.

VOLTA NY, 7 West 34th Street, (646) 641-8732; voltashow.com.

By . . Roberta Smith

Art Knowledge News

jene