https://www.tamargetter.com/works-by-year-our-stiffs
Our Stiffs (7 loops) 2004-5 | 00:08:56:12 (each loop)
• "Our Stiffs" consist of a chain of seven independent sequences playing each, and
all seven together, in a loop.
• The video deals in several different ways with the static, non-developed state of the
single frame, the still image.
• The source materials are from films, paintings, photographs, and graphic works.
The binding of the seven sequences is due to the primitive animation applied in
their making. Tiny motion sequences, analyzed and processed as though they were
a group of single paintings, are multiplied to be re-joined in a new, different
pseudo-motion sequence.
• Accelerated until the picture flickers, or alternately, by slowing it down, to the
point of freeze image, these re-made sequences, fast or slow, are perceived in the
blink of an eye and are viewed in terms of a single unified picture, easy like a \
poster on the highway.
• This readability is clashed head-on by sentences and words designed into them.
• Either you see the images and cannot read the text, or you read it and cannot see
the picture.
• The video work occurs in this gap between the readable and the not readable. Only
a deeper study of each loop enables us to identify and take in both.
• The color and overall design of the seven passages relate to familiar characteristics
of propaganda ads of the 1950s.
1. When Bulldozer
2. Blotted Out Hooligans
3. Maminka
4. Hebron-Gola-Goola
5. Stone
6. Lady of Kinnereth
7. Star
The CDA's archives are operating with the support of the Ostrovsky Family Fund and Artis
The CDA's archives are operating with the support of the Ostrovsky Family Fund and Artis
https://www.tamargetter.com/works-by-year-our-stiffs
Our Stiffs (7 loops) 2004-5 | 00:08:56:12 (each loop)
• "Our Stiffs" consist of a chain of seven independent sequences playing each, and
all seven together, in a loop.
• The video deals in several different ways with the static, non-developed state of the
single frame, the still image.
• The source materials are from films, paintings, photographs, and graphic works.
The binding of the seven sequences is due to the primitive animation applied in
their making. Tiny motion sequences, analyzed and processed as though they were
a group of single paintings, are multiplied to be re-joined in a new, different
pseudo-motion sequence.
• Accelerated until the picture flickers, or alternately, by slowing it down, to the
point of freeze image, these re-made sequences, fast or slow, are perceived in the
blink of an eye and are viewed in terms of a single unified picture, easy like a \
poster on the highway.
• This readability is clashed head-on by sentences and words designed into them.
• Either you see the images and cannot read the text, or you read it and cannot see
the picture.
• The video work occurs in this gap between the readable and the not readable. Only
a deeper study of each loop enables us to identify and take in both.
• The color and overall design of the seven passages relate to familiar characteristics
of propaganda ads of the 1950s.
1. When Bulldozer
2. Blotted Out Hooligans
3. Maminka
4. Hebron-Gola-Goola
5. Stone
6. Lady of Kinnereth
7. Star
The CDA's archives are operating with the support of the Ostrovsky Family Fund and Artis
The CDA's archives are operating with the support of the Ostrovsky Family Fund and Artis