SO. i am attempting to resuscitate this blog after a bit of a hiatus in which i made another documentary short and then traveled home for the holidays. it was a nice respite, and i actually managed to get some filming in while i was sight-seeing and relaxing with my nearest/dearest.
back in san francisco, shit is as real as it ever is. i have a group show coming up at the end of the month in the diego rivera gallery at the san francisco art institute, with stephanie dodes and brittany mccall, two totally rad bitches that i am super excited to collaborate with. the show is called "the pyramid", and has cultish undertones. you can read our statement of intent here.
while busting my ass trying to get that shebang together, i am taking a two-week intensive on film editing taught by lisa fruchtman and dan olmstead. fruchtman edited apocalypse now and children of a lesser god among many, many others, and olmstead is a bay-area sound mixer and designer. i'm pretty stoked, and have already realized the need to start really activating my netflix account to serve my film education needs: today we watched and analyzed snippets of city of god and yojimbo, neither of which i have seen, as i am a philistine.
you know what i DID see during my vacation? forgetting sarah marshall (fucking hilarious if typically-apatowian sausage festy), a scanner darkly (can i have a little less linklater in my dick please?), and borat, finally, which made me REALLY UNCOMFORTABLE. i am not sure if using a racist, exploitative interpretation of one kind of person to expose the racism, anti-semitism, and generally nausea-inducing behavior of these divided states evens out. oh wait, yes i am, and IT DOESN'T. poor kazakhstan! yes, i got that spelling right on the first try. literally everything and everyone in this movie appalled me. then again, i'm probably being over-sensitive. millions of twenty-somethings yelling "it's niiice!" can't be wrong, can they? sigh.
in higher-art news, diana al-hadid, who was a visiting professor at my undergraduate college my last year, is featured in artnews' "artists to watch" issue! her work has become a lot more sinister but maintains the beauty and whimsy i so admired back in '05. she's now in the saatchi collection and everything. hot damn, diana, good on ya. i would love to curate a show with her and swoon.
i'll be trying to stay vigilant with posting to this, because i know you guys care so, so much.
here's to 2009: year of my future!