Artist Steve Lambert just added a video to Artists Space's YouTube Commentary Project, above. For this ongoing series, Artists Space invite artists to select a YouTube video and record their own commentary, which is then uploaded to Artists Space's channel. Lambert deviated a bit from this format by hiring actors to read the commentary posted to the video "Shostakovich, Symphony No. 5." His reasoning is that even "high brow" videos on YouTube generate goofy (e.g. "I like the white tuxedos!") and trivial discussions. His version of the video, with the inclusion of the dubbed comments, was then reinserted into the original conversation as a posted comment.
Need a demented holiday soundtrack to add that je-ne-sais-quoi to your Christmas celebration? Then take a listen to this. People Like Us, aka Vicki Bennett, who's been appropriating and remixing found footage and sound into her own surreal blend for over 17 years now, put together this special Christmas mix in 2004 as part of Christian Marclay's Sounds of Christmas project at the Tate Modern. For this interactive installation/performance, Marclay invited notable turntablists and DJs to remix his personal collection of 1,200 Christmas albums live. People Like Us use Marclay's yuletide LPs to make one ridiculous cacophony, and this track will surely jumpstart a round of al-al-al-aF or Fa-la-la-la.
Christmastime favorite, the Gingerbread Man, enters the darkside in this video by renown art/music group The Residents. Released in 1994, the album Gingerbread Man was an interactive CD-ROM, an example of the band's many experiments in multimedia during the 1990s. The video below derives all of its content from the original version of Gingerbread Man but was produced for their 2001 DVD Icky Flix. To read more about this unique album, go here and here.
This is a Def Leppard Parody.
I made it after I saw a lot of shreds on youtube like StSander and others did. So take it easy, it's only a parody! Have Fun!
DECAMPMENT from ADULT. on Vimeo
In 1998, artist-musicians Adam Lee Miller and Nicola Kuperus began to apply a blatant pop sensibility and dystopic social commentary to the techno music typical of their native Detroit under the monikers PLASMA Co. and Le Car, before settling most enduringly on ADULT. With songs like "Skinlike" and "Hand to Phone," they set the stage for the short-lived Electroclash movement earlier in this decade, and maintained a safe distance when it suddenly imploded. Most recently, the band has developed an interdisciplinary project titled Decampment which includes original video, editioned recordings and photography, as well as live performance. Last week at New York's Anthology Film Archives, the duo screened what was essentially a 40-minute music video for the latest release, a limited editioned trilogy of seven-inch vinyl singles with original artwork, on their record label Ersatz. Miller and Kuperus appeared alongside the projection, flanked by banks of synthesizers, to play their original electronic score. The video was a genre exercise in Horror, involving a squadron of Vanessa Beecroft femme-bots who engage in obtuse, seemingly Masonic rituals, only to sacrifice one of their own. As accompaniment, the band alternated shrill tones with throbbing basslines and crisp percussion. The final sequence was a frenzy of blood, fire, and black leather handbags with Kuperus chanting in her signature monotone, "We are the ones!" ADULT. perform with their film once again in Los Angeles on November 18 at the Silent Movie Theater. - Nick Hallett
In recent years numerous exhibitions have been mounted on the subject of "art and music." The Chicago Museum of Art's 2007 show "Sympathy for the Devil: Art and Rock and Roll Since 1967" was an excellent example that explored the cultural and social crossovers between art and music and the stylistic effects they have had on each other. "Looking at Music," a current exhibition at the Museum of Modern Art (curated by Associate Curator of Media Arts Barbara London), also looks at these cultural synergies but illuminates them further by focusing on the structural and theoretical connections between not only music and art, but also writing, filmmaking and performance. By starting in the early 1960s, the show focuses on a time when the very nature of art was in flux, new forms of writing were emerging, new technologies were pushing the boundaries of moving image and sound recordings, and social attitudes about self expression and gender were radically changing the cultural landscape.