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Work Samples

between incarnations.jpg

One of 65 hand lettered photographs from my 2018 expanded essay Nature as a Metaphor for Economic, Emotional and Existential Horror. This piece appeared in the second and third iterations of this project at Capsule NYC and School 33 Baltimore 2018.

TRAILER In The Jungle Barber 2017

Trailer for In The Jungle, 2017 feature film. A piece of expanded poetics which combines written and spoken text with music composed with the found and created sounds of birds and insects. The collision of human civilization and wildlife is both a contemplation of extinction and environmentalism as well as a metaphor for the wild in our psyches and imagination. Equal parts musical, performance, and poetic lecture, In The Jungle is an hour long, single channel video written and directed by Stephanie Barber, starring Cricket Arrison (of Wham City) and M.C.

trailer 3 peonies

A small introduction to this already quotidian 16mm film, 2017, Stephanie Barber. What becomes apparent is the humor possible in material interactions and the tender and sometimes melodramatic symbolism of cut flowers. What begins as a reverence for natural beauty ends up pointing towards the abstract expressionism and color field work of high modernism which, in many cases eschewed the banality of such ‘natural’ beauty. The collaged soundtrack suggests weightier concerns, gently insistent behind the flatness of the utilitarian sounds of ripping tape.

excerpt nature as metaphor

This is a short excerpt of a looped meditation on the collision of human domestic spaces and wildlife embodied in the running tiger. This is an element of the first iteration of Nature as a Metaphor for Economic, Emotional and Existential Horror, presented in 2016 at the BMA. It is clear, the grace and beauty of the moving animal, fast and steady through the design magazine photographs.

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About stephanie

Baltimore City

stephanie barber's picture
Stephanie Barber is a writer and artist who has created a poetic, conceptual and philosophical body of work in a variety of media, often literary/visual hybrids that dissolve boundaries between narrative, essay and dialectic works. Her work considers the basic philosophical questions of human existence (its morbidity, profundity and banality) with play and humor.  Barber’s films and videos have screened nationally and internationally in solo and group shows at MOMA, NY; The Tate Modern,... more

Status Update Vol. 1 2019

Since 2010 I have written one haiku every day and posted it on Facebook. This project is a daily labor, a meditation, a poetic practice. It began as a way for me to contemplate the various ways one can use social media as an artmaking/sharing platform. The first year I did this Lauren Bender responded to each haiku with a "drawing" these illustrations are poetry, description, game.

In 2019 the press Ctrl+P published this first year of haiku and their accompanying drawings.

FROM Ctrl+P:

Stephanie Barber has been posting haiku to her Facebook page every day since 2010. Status Update Volume I is a catalog of that first year, at once quotidian and monumental. Archived in the endless scroll of Facebook’s feed, here they are extracted from the jumble of news articles, events, and comments and available to the public for the first time. Each haiku has been paired with an illustration by Lauren Bender, which are not illustrations at all, but rather descriptions of drawings she would do if she were to illustrate each haiku. As the cultural role of Facebook ebbs and flows, Barber persistently responds to the platform’s incessant query, “What’s on your mind?”

Ctrl+P is a curatorial + publishing project dedicated to preserving ephemeral + poetic interventions in the digital realm. It is a platform for thinking + a chance to collaborate with artists + writers.

Oh My Homeland 2019

Oh My Homeland, 16mm film 4 minutes 2019
In 1985 the great soprano Leontyne Price sung the title role in Verdi’s Aida as her farewell opera. After the ‘O patria mia’ aria, the audience breaks into a four-minute applause. 'Oh My Homeland' is the third in a series of minimal single shot 16mm films I’m currently building. It’s a film about representation, art, and material exchange. It’s a film about endings. It’s a film about identity, love, power, patriotism and the transcendent potential of art through the viewing of a face receiving adoration. A minimal gesture akin to the practice every portrait painter or mother recognizes as ineffably powerful. It is essentially a readymade and like my book 'Night Moves' and my video "Tatum's Ghost" it continues to explore Youtube as a cultural and social archive. Oh My Homeland, while being simply a shot of Ms. Price’s face as she receives the applause and before returning to the role, expands with the unaltered meditation on the shot. The transformational power of art for society and the maker alike; the implication of Ms. Price’s race and the context to which she dedicated her life; the staggering political implications of the Verdi aria (a mournful and complicated love letter to Aida’s homeland) in a time in which love of (my) country is hard to muster.

Since its release in August of 2019, Oh My Homeland has screened at BFI London Film Festival; UK Split Film Festival, Croatia; IndieCork, Ireland and Swedenborg Film Festival, London, UK where it was awarded an honorable mention. The film is programmed to screen in several other festivals in 2020 including Big Muddy.

  • Oh My Homeland still 1

    Oh My Homeland, still 1
    In 1985 the great soprano Leontyne Price sung the title role in Verdi’s Aida as her farewell opera. After the ‘O patria mia’ aria, the audience breaks into a four-minute applause. 'Oh My Homeland' is the third in a series of minimal single shot 16mm films I’m currently building. It’s a film about representation, art, and material exchange. It’s a film about endings. It’s a film about identity, love, power, patriotism and the transcendent potential of art through the viewing of a face receiving adoration.
  • Oh My Homeland still 2

    Oh My Homeland, still 2
    Oh My Homeland, while being simply a shot of Ms. Price’s face as she receives the applause and before returning to the role, expands with the unaltered meditation on the shot. The transformational power of art for society and the maker alike; the implication of Ms. Price’s race and the context to which she dedicated her life; the staggering political implications of the Verdi aria (a mournful and complicated love letter to Aida’s homeland) in a time in which love of (my) country is hard to muster.

Nature as a Metaphor for Economic, Emotional and Existential Horror 2018

Nature As A Metaphor For Economic, Emotional And Existential Horror, an installation of words and photographs, is a philosophical treatise on the concept of 'nature' through a poetic lens. This work has been featured as solo exhibitions at Capsule Gallery NYC between Oct. 4th and Nov. 16, 2018 and at the School 33 Art Center in Baltimore between Dec. 7 and Feb. 2, 2019.

A collection of photographs and language compose an expanded text piece that considers human’s press against (or alienation from?) the natural world,

An installation utilizing words as sculptural elements to contemplate the morphological state of language and nature through a variety of lenses (existential, economic, emotional.)

The installations consist of a series of large format photo prints with texts created by hand pressed dry transfer letters; sculpturally constructed frames with inlaid shelves for smaller photo prints with further hand lettered texts; a vending machine with 300 sentences about the nature of economic, emotional and existential horror; 3 viewfinder essays with images and text; acetate scrolls and a single channel video.

The show is a hybridized essay using photography and text to investigate our understanding of nature as human context.

In The Jungle 2017

A feature length narrative written and directed by Stephanie Barber in 2017.

The musical essay film In The Jungle is an hour long, single channel video written and directed by Stephanie Barber, starring Cricket Arrison (of Wham City) and M.C. Schmidt (of Matmos) as well as a spate of snakes and tigers.

A piece of expanded poetics which combines written and spoken text with music composed with the found and created sounds of birds and insects. The collision of human civilization and wildlife is both a contemplation of extinction and environmentalism as well as a metaphor for the wild in our psyches and imagination.

Leo Goldsmith at The Village Voice wrote "...Barber’s overabundance of language and logos — her insistence on the artificiality and constructedness of the Scientist’s natural environs — positions the jungle as a space of subconscious play rather than a lost paradise. To return to the jungle — to wrap herself, as the Scientist does, in her serpentine sleeping bag and become a snake with her “snake friends” — is about generating a space of comfort and self-care: a habitat."

In The Jungle works in the porous spaces between theater and cinema; essay and fiction; music and poetry. The composite nature of the video extends my exploration of hybridization and multidisciplinary text work in the field of expanded poetics.

In The Jungle, playfully and sorrowfully tells the tale of an unreliable narrator in a self-imposed exile. Given a grant to study the equivalent of animal cries and whines in jungle flora our heroine has lived for 1, 612 days deep in an unnamed jungle. The piece opens with a musical journal entry through which we discover that she must return to "civilization" to deliver a lecture on her discoveries to the board which funds her work. The typewriter on which she impresses her thoughts about this upcoming journey is turned into a melodic instrument and accompanied by an antique toy piano and Berg-like vocal punctuations so that the entirety feels like a circuit bent atonal opera. What becomes clear is an encroaching madness and reluctance to leave the sheer terror of thousands of square miles of rapid life and growth.

The sets are composed of video images of jungles collaged and projected through and onto the sculptural structures of trees and vines and mosses. The sets so clearly avoiding naturalism call into question our heroine's sense of reality; in this way the form of the piece suggests the unreliable nature of the character and her situation.

The jungle serves as an extended metaphor for excessive and continual growth and death and fear and sustenance; a metaphorical space of chaos in which the scientist finds solace and which stands in contrast to the human jungle of "civilization" to which the scientist must return.

A lecture on the epiphytic and resiniferous vegetation of the jungle is then delivered. Or rather, it is skillfully, strangely and poetically side-stepped and whipped into an emotional, philosophical frenzy. The lecture folds a poetic narrative into a roving philosophical inquiry and botanical primer.

The scientist then returns to the jungle just in time to listen to her favorite radio show which provides the courage and fortification of a direct god line to the jungle floor through a mellifluous dj and prescient pop songs.

Mostly she is terrified and interested in being terrified; thinking of all the implications of fear and understanding...the way these two ideas are constantly referenced, metaphorically, in the flora she set out to study.

  • TRAILER In The Jungle Barber 2017

    Trailer for In The Jungle, 2017 feature film. A piece of expanded poetics which combines written and spoken text with music composed with the found and created sounds of birds and insects. The collision of human civilization and wildlife is both a contemplation of extinction and environmentalism as well as a metaphor for the wild in our psyches and imagination. Equal parts musical, performance, and poetic lecture, In The Jungle is an hour long, single channel video written and directed by Stephanie Barber, starring Cricket Arrison (of Wham City) and M.C.
  • Typing; the first scene, an operatic journal entry

    Typing; the first scene, an operatic journal entry
    The opening scene is composed of the scientist’s typed journal entry which has been transformed into a musical instrument. The altered typing is accompanied by an antique toy piano and Berg-like vocal punctuations so that the entirety feels like a circuit bent atonal opera. I created the music withfound and created bird, insect and other jungle sounds against an amplified typewriter. What becomes clear is an encroaching madness and reluctance to leave the sheer terror of thousands of square miles of rapid life and death.
  • Bass and Baritone; The journal writ large

    Bass and Baritone; The journal writ large
    A still from the first scene of In The Jungle. The scientist types in her journal about the trip she will take back to 'civilization'. The words are typed upon the flora of jungle as the sound track, an atonal opera composed of the found and constructed sounds of birds and insects and typewriter keys, reaches a peak of frustration and ridiculousness. As with much of my work the language is both a conceptual and visual element of the composition.
  • The scientist delivers a lecture; the second scene; the role of The Scientist is played by Cricket Arrison

    The scientist delivers a lecture
    The scientist delivers a lecture to her granting committee on her work studying the way jungle flora expresses sorrow.
  • the slide show

    The scientist delivers a lecture
    The scientist delivers a lecture to her granting committee on her work studying the way jungle flora expresses sorrow.
  • The role of The DJ is played by M.C. Schmidt

    The DJ at WJNG radio
    When the scientist returns to the jungle after delivering her lecture, she is just in time to listen to her favorite radio show on WJNG. The show provides the courage and fortification of a direct god line to the jungle floor through a mellifluous dj and prescient pop songs.
  • snakes

    The scientist listens to the radio show with a number of snakes.
    The scientist listens to the radio show with a number of snakes.
  • Radio Call In

    Radio Call In
    The Scientist is able to call in to the radio program and speak a bit to The DJ and request a song.
  • “Radio Request” excerpt from In The Jungle

    This is an excerpt from the last scene of the feature length video In The Jungle. The Scientist has returned to the jungle after delivering her lecture just in time to listen to her favorite radio station where The DJ serves as an alternately sardonic and consoling god-like presence through the jungle ether and radio waves.
  • The Audience

    The Audience
    Between the three acts the sets of the scenes are changed by stage hands who serve as dancers, visible & choreographed. As the stage hands change the sets the camera does a 5 minute 360 degree pan and tilt around the theatre and reveals that the entirety of the film is a theatre piece with a live audience.

3 peonies 2017

3 peonies is a brief, poetic 16mm film on a simple sculptural action.

What becomes apparent is the humor possible in material interactions and the tender and sometimes melodramatic symbolism of cut flowers. What begins as a reverence for natural beauty ends up pointing towards the abstract expressionism and color field work of high modernism which, in many cases eschewed the banality of such ‘natural’ beauty. The collaged soundtrack suggests weightier concerns, gently insistent behind the flatness of the utilitarian sounds of ripping tape.

While the last 7 years I have been creating feature films and book length writing--expanding my notions of time--these short, experimental, poetic film and video work have been a mainstay of my artistic practice and I have and will continue to, create these more condensed pieces throughout my life.

Has screened at Media City Film Festival, Windsor/Detroit 2018; Image Contre Nature 18, Marseille, France 2018; European Media Arts Festival Osnabrück, Germany 2018; IndieLisboa, Portugal 2018; Cue Mark Lubov Gallery, NYC 2017; Antimatter Film Festival, Victoria BC 2017 among others.

Critic Michael Sicinski wrote "The film consists of a three-minute action, but Barber's framing and use of contrapuntal sound (together with the repetitive rip of the tape) organizes this performative gesture into a fully cinematic object, one with a full painterly palette. This is a tough, smart little film." https://letterboxd.com/msicism/film/3-peonies/

  • 3 peonies still 1.png

    3 peonies by stephanie barber
    A short, poetic 16mm film from 2017. Three peonies are taped to a red ground until entirely covered with blue painters tape. What begins as a portrait of flowers, a nod to the beauty and delicacy so lauded in Dutch floral painting, turns to a piece reminiscent of modernist painters as the tape covers the stems and buds of the flowers. This is a film which is playing at being a sculpture.
  • 3 peonies still 2.png

    3 peonies by stephanie barber
    A short, poetic 16mm film from 2017. Three peonies are taped to a red ground until entirely covered with blue painters tape. What begins as a portrait of flowers, a nod to the beauty and delicacy so lauded in Dutch floral painting, turns to a piece reminiscent of modernist painters as the tape covers the stems and buds of the flowers. This is a film which is playing at being a sculpture.
  • trailer 3 peonies

    A small introduction to this already quotidian 16mm film, 2017, Stephanie Barber. What becomes apparent is the humor possible in material interactions and the tender and sometimes melodramatic symbolism of cut flowers. What begins as a reverence for natural beauty ends up pointing towards the abstract expressionism and color field work of high modernism which, in many cases eschewed the banality of such ‘natural’ beauty. The collaged soundtrack suggests weightier concerns, gently insistent behind the flatness of the utilitarian sounds of ripping tape.

All The People 2015

Published by Ink Press Productions in June 2015, All The People is a collection of 43 very short stories.

The stories sit carefully between poetry and story. Like much of my work, they are interested in the upsetting of genre and media as an element of the project. All The People wants to be a book of photographs, an album of songs or treatise on need.

Laura van den Berg at Entropy Magazine wrote "All the People is a work that resists easy categorization, and certainly Barber is stretching and complicating the form of the micro-story or the flash fiction or whatever we want to call it here; she is capturing that form and making it wholly her own. I could try out comparisons—Deb Olin Unferth meets Lydia Davis, say—but Stephanie Barber continues to prove herself as a true original."

Horizon 2014

Horizon is a short experimental video. The piece is a poetic collage of 16mm home movie footage from Egypt in the 1950s, elements of Capra's "Lost Horizon" soundtrack and a small and frustrated boy.

The 16mm footage was shot by a wealthy American couple on their 3 year, around the world honeymoon trip. My mother was their maid for 25 years until they passed away recently and I received all of the film footage. I constructed this collage which contemplates the concept of utopia and holds a critique of the American class system and the way it is visible through markers such as language usage.

While the last 7 years I have been creating feature films and expanding my notions of cinematic time, short, experimental, poetic film and video work has been a mainstay of my artistic practice and I have and will continue to create these more condensed pieces throughout my life.

Horizon premiered at The New York Film Festival and has since screened at The Edinburgh Film Festival; KLEX, Kuala Lampur; Fronteira Festiva, Brazil; Manchester Film Festival and others.

  • Horizon, still

    Still of the short, poetic film "Horizon" made in 2014.
  • horizon

    A brief poetic collage of 16mm home movie footage from Egypt in the 1950s along with elements of Capra's Lost Horizon soundtrack interwoven with recordings of a small and frustrated boy. The original footage was given to me by my mother, who worked some 30 years as a maid for the millionaire couple who shot this while on a 4 year, around-the-world honeymoon trip.

DAREDEVILS 2013

DAREDEVILS, written and directed by Stephanie Barber
HD 85minutes
This feature film premiered October, 2013 at New York Film Festival's Views from the Avant-Garde.

A portrait of risk and language, the experimental narrative DAREDEVILS, presents a writer as she interviews a well-known artist and feels the reverberations of their discussion throughout her day. Visually spare, still and verbose, the video considers three formal handlings of language—a dialog, two monologues and a song.

Starring KimSu Theiler, Flora Coker & Adam Robinson and featuring the voices of Susan Howe and Jenny Graf, DAREDEVILS constructs a metaphor of an artist’s life and work as daredevilry.

The piece sits gently between video art, narrative and poetic essay. The classic rising action, climax and denouement are sculpted, not by cause and effect, but by the subtle movements to and from understanding that are inherent in conversation. Bubbles of intimacy are blown and popped, begin to be blown again.

website: http://daredevilsmovie.com/

  • DAREDEVILS trailer

    The trailer for the new feature DAREDEVILS written and directed by Stephanie Barber.
  • DAREDEVILS still, interview scene

    DAREDEVILS by Stephanie Barber
    Actor Flora Coker plays an artist who is interviewed by a writer played by KimSu Theiler.
  • EXCERPT FROM DAREDEVILS INTERVIEW SCENE

    This is a short excerpt from the first scene of DAREDEVILS. The Writer, played by KimSu Theiler, interviews the fictional artist played by Flora Coker about her work and life and ideas. The script is carefully constructed to suggest an initial awkwardness as the conversation begins, and then move to the traditional question/answer format of an interview to moments of natural conversational exchanges to an abrupt ending.
  • DAREDEVILS still, jogging scene

    DAREDEVILS by Stephanie Barber
    Actor KimSu Theiler in the jogging scene. This second scene, after the interview, watches The Writer jog while listening to a podcast interview with a daredevil and hollywood stunt actor.
  • DAREDEVILS reviewed at Cinema Scope Magazine

    http://cinema-scope.com/features/conversation-stephanie-barbers-daredevils/
  • NYFF, Views from the Avant-Garde Reviews

    Review of DAREDEVILS Nov. 2013, at Lumiere Magazine http://www.elumiere.net/exclusivo_web/nyff13/nyff13_09.php
  • Notes on Daredevils

    Review of DAREDEVILS at The Brooklyn Rail, Nov. 2013 http://www.brooklynrail.org/2013/11/film/notes-on-daredevils
  • shooting actor Adam Robinson as 'The Musician' in DAREDEVILS

    DAREDEVILS by Stephanie Barber
    Director Stephanie Barber setting up one of the recording scenes in which Adam Robinson plays the role of a musician recording the sounds of branches, logs, rocks and leaves.
  • DAREDEVILS still, woods recording

    DAREDEVILS still, woods recording
    Actor Adam Robinson, whose character is in the woods recording sounds for a song his character composes. These recording scenes are sprinkled throughout the film and interrupt the 3 main scenes.
  • DAREDEVILS still, dance scene

    DAREDEVILS still, dance scene by Stephanie Barber
    Actor Kimsu Theiler in final dance scene of DAREDEVILS. The writer, played by KimSu Theiler, returns home after a long day and dances in the backyard. Her dance moves between silly and sublime, sorrowful and joyful. After jogging The Writer returns home where The Musician is recording the vocal track for a song he has made with his recordings in the woods. “Hey birds, will you all fly away? Hey birds, will you all fly away?

Night Moves 2013

Night Moves is a conceptual book of poetry published by Publishing Genius Press in 2013

The book is a collection of thoughts and conversations about Bob Seger's classic song of the same name, all culled from YouTube.

Poignant, disturbing and incisive, the collection deepens and takes on a cultural significance beyond the initial artistic impetus. A collaboration is created—twisting through the nostalgia for youth and the collective ownership of pop music, the book becomes a moving document of how strangers communicate about art, and what the song and the sentiment of the song means to different people.

Carl Wilson at Slate Magazine wrote "It’s in these alternations between poignancy and repugnance, the tender and the foul-mouthed, the clichés and the arresting confessions, separated by bubbles of white space, that Barber discovers the poetry of the comment section. Her gesture here goes back, of course, to Marcel Duchamp and all the conceptual art since that has been produced by putting a frame around a found object. (She often collages found images into her video work as well.)" about Night Moves.

Blake Butler at Vice Magazine wrote "The anonymous and wide-open freedom, when orchestrated under independent Baltimore filmmaker Stephanie Barber’s eye, quickly culminates into a narrative built from sentimental dedications, troll-bait insults, wistful old folks angry over how music has changed, defensive teens, lurkers, hornballs, the incredulous, the sincere, and a whole other range of personalities that would only intersect with one another online."

jhana and the rats of james olds or 31 days/31 videos 2011

jhana and the rats of james olds or 31 days/31 videos
Between June 25th-Aug. 7th 2011 Stephanie Barber moved her studio into the Baltimore Museum of Art where she created a new video each day in a central gallery open to museum visitors.

Jhana is a meditative state and James Olds is the protoneuroscientist who discovered the pleasure or reward center of the human brain by doing experiments on rats.

The goal of this project, entitled jhana and the rats of james olds or 31 days/31 videos, was to create a series of short, poetic videos in the playful and serious footprints of Oulipo games and daily meditations; creating one new video each day. The exhibit was both a constantly changing installation as well as a collaborative performance in which museum visitors were present as spectator and often creative partner. Each of these videos was created on one of the exhibition days.

"I am thinking about the emphasis given to product over production, or display over creation. The piece is a video screening and an installation and a performance; a spiritual obeisance, an athletic braggadocio, a consideration of marxist theories of production (with the assembly line so lovingly lit). It is a funny game for me to play, an exercise in concentration, discipline and focus, an extension of my everyday. It is a greedy desire to squeeze a massive amount of work out of myself; a dare; a show I would like to see myself. It is like the back story before the story, an inversion of the way we usually experience art work. A moving from the inside out.

I was thinking how the interiors of museums are really only able to share what is almost the exterior of a piece of art work, and though this colliding of the interior and exterior is fuzzy, a step towards the interior of any art piece might be the making of that piece. I'm interested in the tedious and repetitive qualities of meditation and art work, the difference and similarities in these two practices. The practice and work of these practices??the dispelling of the so-seductive myth of artist as creating through a vague and florid explosion of inspiration??or perhaps interested in romanticizing the effort and challenging technical, logistical, practical elements of creation. The tedious as IT. Or one of the ITs. Like all pieces of art, this project is accordion in its intentions, shrinking and expanding upon use." Stephanie Barber

Press on jhana and the rats of james olds can be found here:
http://www.poetryfoundation.org/harriet/2011/07/a-film-a-day-for-sondhei...
http://citypaper.com/arts/visualart/finalist-words-1.1171218
http://thefastertimes.com/writersonwriting/2011/07/13/almost-everyone-is...
http://htmlgiant.com/author-spotlight/stephanie-barber-works-at-a-museum/
http://www.examiner.com/arts-in-baltimore/poetry-of-the-sondheim-artscap...
http://publishinggenius.blogspot.com/
http://www.washingtonpost.com/gog/exhibits/sondheim-artscape-prize-2011-...
http://charmcitycurrent.com/bolger/2011/07/08/sondheim-artscape-prize-ex...
http://www.baltimorefishbowl.com/stories/be-a-part-of-art-with-stephanie...

  • (small piece of) I LOVE YOU

    This is a short excerpt from a 50 minute film in which 689 people say "I Love You" one after another. All the people in the piece were passing through the exhibit and agreed to be in this piece.
  • jhana and the rats of james olds written about at The National Poetry Foundation blog Harriet

    jhana and the rats of james olds written about at The National Poetry Foundation blog Harriet
  • miniatures

    Stephanie Barber | U.S. | 2011 | 2m color | sound | DV from Jhana and the Rats of James Olds A series of sentences read by museum visitors inspired by, and paired with, a number of miniature Elizabethan portraits. Words and paintings??each seem equally able and unable to represent a life. The man who reads the line ?I think constantly about my coming demise? came through the exhibition several times and participated in a few different pieces. He is big, young, strong and confident. I had him read the line many times before he got it just right.
  • still from The Badger and The Hare

    A musical telling of an old chinese myth. Made in collaboration with Smelling Salt Amusements.
  • DEGAS from Jhana and the Rats of James Olds

    DEGAS from Jhana and the Rats of James Olds 1 min / digital / sound / 2011 It is not only that his first and last names are near anagrams of each other or that his paintings of horses are paintings of motion reorganized to suggest docility and submission, earth toned to make the colored silks of riders pop. There is more about Degas that gives us pleasure. More than Degas I am continually fascinated by what passes for biography–a timeline; a portrait; a solemn or inane anecdote. These all seem equally plausible.
  • Some Animals from Jhana and the Rats of James Oldsh.264

    SOME ANIMALS from Jhana and the Rats of James Olds  is a song created by the presence or absence of these images of animals. The patterning of sound sound sound repeating like the shapes which make a giraffe's coat or the molecules of steam which flow from the bison's broad nose as he exhales the scent of a wildflower. Between June 25th-Aug. 7th 2011 Stephanie Barber moved her studio into the Baltimore Museum of Art where she created a new video each day in a central gallery open to museum visitors.
  • the eclipse from jhana and the rats of james olds

    THE ECLIPSE     Stephanie Barber | U.S. | 2011 | 2m | 
b&w | silent | DV
from Jhana and the Rats of James Olds The solar eclipse of May 28 in 1900 is part of the Saros Cycle 126. It was, as all eclipses are, not a result of any more or less motion but an expected interruption along our usual path. A shading that reminds us that we are moving and that other celestial objects are moving also.

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stephanie's Curated Collection

This artist has not yet created a curated collection.