#tamy ben-tor

[vsthepomegranate]

"Ben-Tor posted the clip on October 19 to the Instagram account she runs with fellow Israeli artist and collaborator Miki Carmi. In the video, the artist delivers a sarcastic monologue while wearing a mask that many on social criticized as (is) a “racist caricature” of Arabs or Palestinians. Some critics used the term (this racist performance trope is called) “Arabface” in describing the artist’s performance... Past works by (Tamy) Ben-Tor show her caricaturing Arab people; in what appears to be the artist’s YouTube channel chronicling her performances, one video uploaded in 2012 shows Ben-Tor in the guise of a character she calls “Dr. Hammam, Middle East expert and civil rights activist” who makes anti-Jewish remarks. In another piece, from 2004, Ben-Tor appears to play the role of Hitler while wearing a Palestinian keffiyeh. In a 2005 video titled “Girls Beware,” Ben-Tor again dresses as an Arab man, this time delivering catcalls, then makes anti-Arab comments while playing the role of a sex worker."

[piyasahaberleri]

İsrailli Amerikalı bir profesör, Salı günü acayip görünümlü bir maskeyle "Müslüman karşıtı" ve "Filistin karşıtı" bir video yayınladıktan sonrasında Filistinlileri insanlıktan çıkarmakla suçlandı.İsrailli performans sanatçısı Profesör Tamy Ben-Tor geçmişte de bu tür tartışmalı videolar yapmıştı.Videoda Hamas yanlısı anlatımın taklidini yapıyor ve Filistinli grubun İsrailli hanım ve ufaklıklara karşı işlediği görmezden gelinen cenk suçlarını ima ediyor.AFP'nin haberine bakılırsa, ABD, Gazze'deki ateşkes müzakereleri değerlendirilmeden ilkin öteki 200 tutsağın özgür bırakılmasını talep ederken Hamas, Pazartesi gecesi Salı günü erken saatlerde aileleriyle bir araya gelmeleri için uçakla İsrail hastanesine götürülen iki yaşlı rehineyi özgür bıraktı.Salı günü erken saatlerde askeri bir helikopter, özgür bırakılan 79 yaşındaki Nurit Cooper ve 85 yaşındaki Yocheved Lifshitz'i Tel Aviv'deki bir tıp merkezine götürdü. Özgür bırakılmaları, öteki iki kadının (Amerikan vatandaşı) özgür bırakılmasından birkaç gün sonrasında gerçekleşti.Sınırlara yığılan İsrail birlikleri Gazze'ye karadan müdahale emrini beklerken, Dünya Bankası başkanı İsrail ile Hamas arasındaki savaşın küresel ekonomik kalkınmaya "ciddi" bir darbe indirebileceğine inanıyor.İsrail ve Gazze'deki şok edici sertlik, bu yıl İran'la bağlarını tekrardan kuran ve çatışmalar başlamadan ilkin İsrail'i tanıma yönünde görüşmelerde bulunan Suudi Arabistan'ın savunduğu daha istikrarlı ve müreffeh bir Orta Doğu vizyonuyla tam bir karşıtlık oluşturuyor.Suudi Arabistan son haftalarda Gazze'de sivillere yönelik sertliği kınadı ve Filistin davasına desteğini teyit etti.

[cultoftrash]

[performamagazine]

#TBT From the Archive: Performa 07 commission, "Hip Hop Judensau America" by Tamy Ben-Tor at Salon 94

[forgetthebody]

Why is video art so amateurish? Video art’s humble beginnings have held on tight.

Video art is a young medium, not even fifty years old. When Sony introduced the Portapak in 1965 video art was born. A technology previously reserved for studios and agencies became portable and affordable, and quickly found its way into artists hands. The first decade of video art set the tone firmly in opposition to what the studios and agencies were trying to accomplish. Video art was often unedited, dry, unwatchable, everything that TV wasn’t. By positioning itself on the opposite side of the quality divide, TV and cinema’s slickness to video art’s amateurishness, the medium formed a lasting resistance to refinement, to quality control, to entertainment. The rule became that video art was boring, that it was single-minded, that it repeated over and over again, that it refused even the most elemental components of cinema, like cinematography and montage.

The amateurish legacy has remained, durational performative actions for the camera are alive and well in the works of artists like Kate Gilmore and Tamy Ben-Tor. Ryan Trecartin’s videos are purposely low-fi and crudely chaotic, working to the benefit of the work and the content. But while the rough, raw, unrefined nature of video art has endured, have there been side-effects to the medium’s resistance to being polished?

As video art and video installation are sold globally in the ever expanding art world, demanding higher and higher prices, there is actually a rudimentary nature to the presentations of many of these works. More often than not the available equipment determines the presentation. Video artists often make do as any artist does, yet with video this often translates to sloppy display, with cobbled together supplies. Projector masks made out of dowels and tape come to mind, or using bits of wadded up cardboard to even out a projection, or high definition screens hooked up to standard definition dvd players. Even at the highest level of institution, like The Whitney Museum, video installations are just not constructed that well. There is a slipshod nature to many works that is not a part of their content, but seemingly a result of a low standard of quality control when it comes to presenting these works.

TJ Wilcox’s In the Air at the Whitney Museum, an immense circular video panorama of New York City is “dazzling” according to Roberta Smith in her review in the New York Times. She goes on to say that “it may be hard to tear your eyes from Mr. Wilcox’s mirroring of his city and his medium...” Upon entering I first tried to orient myself, to figure out north, south, east, west, to figure out which direction my apartment was in. Then it dawned on me that I couldn’t see my apartment, that there was a big building blocking the view, that even with an all encompassing panorama, the city from one perspective is incomplete, its too massive to capture. The piece is spectacular, the shallow video cylinder is 7 feet tall and 35 feet in diameter. It hangs 4 feet off the floor so viewers must duck under it, entering into an immersive, all encompassing 360 degree view of the city. It’s seductive, but the more I watch the more I notice. The projections are not clear, not nearly sharp enough to get close to and appreciate the details of the city. And it’s a shame because the piece invites this kind of scrutiny, to study the city in all its unfathomable complexity. As expansive as the panorama is I want more, I want clarity, I want to see into windows.

Wilcox shot high-res stills, 60,000 of them, but he used small rugged GoPro cameras with tiny lenses, so the images suffer, especially as the sun gets low. The multiple projections that compose the panorama don’t line up perfectly, they are overlapped in some places and not others. The colors are not evenly balanced across the board either, which is especially apparent in the color of the skies. The screens themselves are bowing and curving in different ways, breaking the symmetry of the piece. All these determining factors occur haphazardly, and they influence the overall impression of the work. The spectacular is muffled by the poor craftsmanship, by the seeming lack of attention to detail.

Why, at the museum level, is video installation so rudimentary? Why are the standards at the highest level of presentation so low? Is this really a nod to the amateurish legacy of the medium, or has that legacy mothballed into the common practice of accepting a low standard of quality when it comes to video installation? Perhaps we are just to easily seduced by moving imagery that most people just don’t notice.

[wiebkerost]

"Bad Intentions" Exhibition Opening

“Bad Intentions” Exhibition Opening

Dear followers and friends,

I am happy to share the news with you that I will be part of the exhibition “Bad Intentions” at Circle 1 gallery in Berlin, opening November 17. You are all invited to attend and spread the news!

This is a unique opportunity for me to bring my plant inspired art to a new audience. I will be showing ink drawings of my “Sigilla Magica” and illustrations, supported by an…

[mglibrary]

The Making of Art

Max Hollein

The mechanisms, rhetoric and strategies of today's art world are probably closer to popular conceptions of the film industry than to the romantic image of the solitary studio-bound artist--so byzantine are the relations between artists, collectors and critics that sit just behind the artwork itself, propping it up, so to speak. The artists in The Making of Art show and trace these structures, offering some transparency as to how this world--so foreign and remote to many of us--really operates. Artists contributing to this elucidation are Pawel Althamer, Azorro, Tami Ben-Tor, Joseph Beuys, Merlin Carpenter, Clegg & Guttmann, Phil Collins, Tracey Emin, Fischli & Weiss, Andrea Fraser, Ryan Gander, Thomas Hirschhorn, Jörg Immendorff, Komar & Melamid, Sean Landers, Louise Lawler, Manuel Ocampo, Martin Parr, Sigmar Polke, Cherí Samba, Nedko Solakov, Wolfgang Tillmans and John Waters.

Cost: $15.72

Date: 30-Jun-12

From: Japan

Location: MG Office

ISBN: 978-3-86560-586-3

[zoezinnia]

Tamy Ben-Tor

[thesarcasticdharmasociety]

the creative notion of her practice is so crucial.

[zachfeuer-blog]

A clip from Tamy Ben Tor's film Gewald shown at Zach Feuer Gallery in March 2008.

[zachfeuer-blog]

Tamy Ben-Tor

Yid

[zachfeuer-blog]

Tamy Ben-Tor

New Performance Work, install view

[zachfeuer-blog]

At Zach Feuer, the performer Tamy Ben-Tor presents four videos to poke fun at institutional support for ludicrous ideas.

[zachfeuer-blog]

Tamy Ben-Tor Smudi, 2009 (video still)