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   avant-garde movies, motion graphics, and theory

Review of Plugged-In Show in Hollywood, FL

story © Michael Betancourt | published October 16, 2003 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



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Michael Mills reviewed the Plugged-In show: "Art Light. In Hollywood, art in the dark is only the beginning" in The New Times Palm Beach. I guess he doesn't get it:

"A pair of short movies by Michael Betancourt, shown on two adjacent television screens with their own sets of headphones, strikes me as more annoying than anything else. One, She, My Memory, features loud vaguely ethnic-sounding music and jittery camerawork, while Telemetry (Excerpt) includes something like a color equivalent of white noise as a visual, paired with some music that starts at a low volume and gradually builds to a near-deafening crescendo. It's sort of like a scrambled TV channel you've stumbled upon while channel-surfing."






 

Obliteration and Focus at the Bass Museum

story © Michael Betancourt | published May 4, 2003 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



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Show-Tel II - April 25, 2003 - 7 to 11 pm

story © Michael Betancourt | published April 10, 2003 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



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A ONE-NIGHT ART EVENT AT HOTEL BIBA
FEATURING 28 ARTISTS ON APRIL 25, 2003

West Palm Beach, FL (April 7) The second annual SHOWTEL will take place at Hotel Biba in West Palm Beach on Friday, April 25, 2003 from 7-11 pm. Over twenty artists from South Florida will be taking over the hotel to install their site-specific projects. The installations, projection and sound pieces, sculptural, and performance art works will be placed in rooms and throughout the grounds of the hotel. Closer Magazine called last years event, attended by over two hundred people, one of the most exhilarating and original art events of 2002.




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Liquid Perspective

story © Michael Betancourt | published July 30, 1997 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



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I make pictures where the space of the picture is really flat, but you think it isnt at first. It looks like it has some depth -- maybe not much, but some -- but then you see something else that forces you to change how you thought about the space, and then you realize it wasnt at all the way it looked at first. You cant do that with real pictures, ones made that try to be like reality. The Japanese try to build rock gardens that make you rethink arrangements with your memory, but it just isnt the same as a picture. Their idea of ma I like. Its about the way our memory of what weve seen shapes our understanding of what were seeing now. Thats what they try to show with their rock gardens.

My pictures dont use their idea of ma but its related to what I do. I dont know a word that describes what I do very well. Liquid Perspective was suggested by a friend of mine, and I like that idea too. The perspective just flows around the picture and you get carried with it.




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Paper Constructions

story © Michael Betancourt | published September 23, 1996 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



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My paper constructions are not simple formalism using the human body as a source; they are the idea of transformation given a concrete form. As each composite of elemnets is considered an array of potential images emerge. This reflects back to us how we see the world centered around ourselves, and it is this vision which we use to construct a reality around us: we see ourselves in our world because we invent that world as much by looking as physically with our hands. Ours is a human world because we are human. The simultaneous appearance of depth against a flat reality is simply an expression of our perceptions. Without us, our world is flat.




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