David Drori

David Drori is one of my colleagues from Syracuse University MFA Program.
He is not only a master of gourmet sandwich making but also an amazing film maker/storyteller.
I'm a big fan of his documentary films, "Shabbat Shalom" and "Home Planet"
Especially I like how he merged a very personal family story with a story of him filming this interesting people from Mars Society in "Home Planet". I also love the honesty of this film.
I have been interested in different ways of storytelling for my next project and it was very nice seeing his work.
I recommend you all to visit his website and see the trailers.

Nan Goldin

from DAZED Digital interviews Nan Goldin
DD: You’ve said: “ I have never believed in one decisive portrait of someone but in a variety of pictures that record a complexity of a life.”
Nan Goldin: I don’t believe in that that one portrait says who somebody is. The slideshows are movies, they’re my way of making movies out of stills, the narratives are more open than with narrative film. But the slideshows are about history. I don’t know, the reality is very complex.

Too Much Chocolate Rotating Gallery Project

It's been a while since I updated last time.
I was working on moving to New York City and also Rotating Gallery Project on Too Much Chocolate website.
Earlier the month, I was interviewed by Tricia Lawless Murray and I interviewed Lucas Blalock just this week.
They were both very interesting artists. Tricia has very strong vision. It was such a great opportunity to work on this with Tricia since she gave me many good and difficult questions. It was like thesis round 2.
Rotating Gallery Week 92: Shimpei Shirafuji
I came upon Lucas's work in a Chinese restaurant in China Town at the beginning of the month. His work was displayed as a part of Chinese Take Out organized by Art in General. It was very interesting experience to see an work of contemporary art in that context. His image was a bush of tree slapped on top of suburban landscape. The image stuck to me for a while. In past year and half, I was looking at works of Roe Ethridge and Sam Falls. I've got sort of similar impression from Lucas's work and it really draw my attention. It was such a great experience to be able to ask him questions directly.


Jason Losh’s Chinese Take Out: An Art in General New Commission

Art in General is pleased to present Chinese Take Out, a New Commissions project conceived by Jason Bailer Losh, in which he invited ten artists to engage in a creative cultural exchange with restaurants in New York’s Chinatown neighborhood. The interactive project, on view from May 20 – July 2, at Art in General and seven local Chinese restaurants, explores notions of home, cultural memory and nostalgia, and how place, context, and association with images and objects represent individuals to the outside world. Audiences chart their own course through Chinatown, aided by a website and an interactive map, to fully experience the exhibition.

Participating Artists and Restaurants:

Martin Basher- 88 Palace, 88 East Broadway (2nd floor)
Lucas Blalock- Old Shanghai Deluxe, 50 Mott Street
Nicholas Brooks- East Market Restaurant, 75 East Broadway
Sarah Chacich- Sanur, 18 Doyers Street
Vincent Como- Excellent Pork Chop House Inc., 3 Doyers Street
Rory Donaldson- Full House Café, 97 Bowery
Nick Kramer- East Seafood Restaurant, 17 Division Street
Ted Riederer- 88 Palace, 88 East Broadway (2nd floor)
Thuridur Ros Sigyrthorsdottir- East Market Restaurant, 75 East Broadway
Ryan Sullivan- East Market Restaurant, 75 East Broadway

Charlotte Moth: 500 words from artforum

View of “Noting Thoughts,” 2011.

Since 1999, the Paris-based artist Charlotte Moth has worked on the Travelogue, a collection of photographs that she constantly updates. Her discovery of pictures that were taken by Raoul Hausmann in Ibiza in the 1930s became the basis of her exhibition “Noting Thoughts,” which is on view at the Musée Départemental d’Art Contemporain de Rochechouart until May 29.

I’M VERY INTERESTED IN A SCULPTURAL RELATIONSHIP TO EXPERIENCE. An image can later function as an aid to memory, it becomes a hybrid, and something perhaps better described as an “image-memory.” When I was in art school I was taking a lot of photographs, and for me that acted as a way of studying things, trying to learn what was around me. I was absolutely fascinated by the structural forms of architecture––all types––and using it as a way to think about how to generate work. This habit of taking photographs became very accumulative and naturally charted a kind of itinerancy or movement in space and place.

I really wanted to develop a relationship between research and looking, where research becomes work and work becomes research. So for me the photographs in the Travelogue are very structurally grounded in research. And this led to traveling to Paris, Marseille, London, Los Angeles, Kyoto, Hamburg, Maastricht, and Brussels, to name a few. The more you travel, the more you discover, and the more you read the more you want to travel.

For my show in Rochechouart, I really wanted to make a transition in space and time by using these tables to lay my photos on; they create a sort of horizon in the space. You’re walking around them and they become islands. You could read the layout as a narrative, but it’s very segmented––more like a three-dimensional book, as the images are mounted on folded metal sheets.

This year is the twenty-fifth anniversary of the museum’s collection, and to mark it the institution invited two artists to produce a site-specific work that dealt with ideas of collection and archiving. I was very pleased to be chosen, and I decided to look at the archive of the Dada artist Raoul Hausmann, as it’s very special and the largest collection of his work. It includes all his photographs, even all his ties––Mr. Hausmann had a cravat fetish. But it has many of his writings and poetry too. I was kind of overwhelmed by these things in a very lovely way. Even though he was quite political, he was also a dancer, a poet, and a painter. So this archive is extensive.

I was particularly interested in the images from his stay in Ibiza from 1933 to 1936. To him, creating photographs was more like a making an anthropological survey of the island—it wasn’t just buildings that he liked; he was also taking pictures of people, landscapes, houses, plants, all this kind of stuff. Perhaps he was looking for an untouched land. When I went to Ibiza, I was surprised to feel like I had already been there, that I had ideas of what the land would be like, perhaps from looking through his archive. And the ironic thing, which isn’t really ironic at all, is that when I arrived in Ibiza for the first time I felt like I had already photographed it.

copied from http://www.artforum.com/words/id=28218