By Laura U. Marks
Involved, Laura U. Marks develops a severe technique extra tactile than visible, an intensely actual and sensuous engagement with works of media paintings that enriches our realizing and adventure of those works and of paintings itself. those serious, theoretical, and private essays function a advisor to advancements in nonmainstream media paintings up to now ten years-sexual illustration debates, documentary ethics, the shift from analog to electronic media, a brand new social obsession with odor. Marks takes up recognized artists like experimental filmmaker Ken Jacobs and mysterious animators the Brothers Quay, and introduces groundbreaking, lesser-known movie, video, and electronic artists. From this emerges a materialist theory-an embodied, erotic courting to paintings and to the area. Marks's technique ends up in an appreciation of the works' mortal our bodies: film's risky emulsion, video's fragile magnetic base, crash-prone internet paintings; it additionally deals a efficient substitute to the preferred realizing of electronic media as "virtual" and immaterial. Weaving a continual cloth from philosophy, fiction, technology, goals, and intimate event, contact opens a brand new global of artwork media to readers. Laura U. Marks, affiliate professor of movie stories at Carleton college, Ottawa, is a critic and curator of artists' self reliant media. She is the writer of the surface of the movie (2000).
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Video artist Mike MacDonald takes an urgent yet sardonic tone toward the conservation of animal life. MacDonald, having been raised/ assimilated in Nova Scotia and only later identifying with his heritage as Micmac and Beothuk, worked to educate himself about First Nations issues. He now lives in British Columbia, where he has made works dealing with the land claims of the Gitksan Wet’suwet’en nation. C. mountain range, using video monitors to create a portrait of each peak. Long shots of mountain tops wreathed in cloud, taken from a helicopter, suggest a timeless grandeur.
Oddly, the creatures that are most often observed in this way are birds. Birds are relatively unsympathetic creatures, difﬁcult to hang an identiﬁcation on. Wiseman seems to have found them mysterious for that reason, and thus to have ﬁlmed them in a way that stresses their alterity. Second, in many scenes the camera pulls back to look over the shoulders 32 Animal Appetites Frame enlargement from Zoo (1993), by Fred Wiseman. Courtesy of Zipporah Films. Photograph by Miami Metrozoo. Copyright 1993 Zoo Films.
Courtesy of Zipporah Films. Photograph by Miami Metrozoo. Copyright 1993 Zoo Films. of zoo visitors and share their interactions with the animals. Many of these scenes are predicated on complete identiﬁcation. People laugh at the monkeys; children corner deer in the petting zoo; a burly man beats his chest as though to communicate with gorillas. Wiseman allows us to watch these visitors identifying, in a way that makes us reﬂect on our own ways of looking at animals. As most of us tend to do at zoos, people in the ﬁlm take the opportunity to marvel at the strangeness, indeed uncanniness, of animals.