Tuesday, November 27, 2007

Esoterica featured in Layers show

see sample of work in show at www.flickr.com/photos/vanityfire/sets (under Show Oct. 20 folder)

Posted By:Lanie
Hosted By::Lanie McCormicke-mail
When:Friday Nov 30, 2007at 7:00 PM
Where::The Austin Figurative Gallery301 Chicon, Unit F.Austin, TX 78702United States View Map
This is an old school happening made new! Help us make this an evening to remember. 30+ artist, sounds by Spooky Texas, performance by Butoh. Dress in layers to become a walking work of art.

Friday, October 26, 2007

Hollywood Meets Austin once again

Join us this Saturday, from 10:00pm to 1:00am as we celebrate the making of Weezie Melancon's 40 LOVE starring Brittany Murphy and Pras Michel
J. BLACK'S, Feel Good Lounge710 W. 6th, Suite BAustin, Texas 78701512.433.6954
Join us this Saturday, October 27th, from 10:00pm to 1:00am as we celebrate the making of Weezie Melancon's 40 Love starring Brittany Murphy and Pras Michel, which is being filmed right here in Austin!
Come hang with us as we show an Austin welcome to the prodcuers and crew of LA's KissKiss Productions . . .
The night kicks off at 10:00 with DJ Czar and includes a special guest appearance from Austin's own, Ryan Read, at 11:00, who has recently been named a candidate for on-camera talent and the soundtrack of 40 LOVE.

Artwork will also be featured courtesy of Shanti Matulewski.

Special thanks to the efforts of the Texas Film Commission for bringing great productions like 40 LOVE to Austin!
Where & WhenJ. BLACK'S
710 W. 6th St.Austin, Texas 78701Saturday, Oct. 2710:00PM-1:00AM
For more information about J. BLACK'S, Feel Good Lounge and our upcoming events and specials visit http://rs6.net/tn.jsp?t=rudk8fcab.0.0.5veqwacab.0&p=http%3A%2F%2Fwww.jblacks.com%2F&id=preview

To book your next social, private, or corporate event contact Ashley.Leitch@jblacks.com

Thursday, October 18, 2007

The Red Slip Project

Lingerie travels the world in ‘The Red Slip Project’
By Emily Macrander

Photographer Shanti Matulewski incorporates everything from burlesque dancers to drag kings in her new exhibit.
The red slip has never been washed, has traveled internationally and just this past weekend took a dip in the Atlantic, soaked in the shower and swam in a swimming pool. But it has never gone for a spin in the washing machine.
The soiled poly-blend candy red piece of lingerie ties together photographer Shanti Matulewski’s collection, “The Red Slip Project,” which will be shown at the Austin Figurative Gallery Saturday night.
Matulewski began work on the project in May of 2005 when she was in Italy participating in an urban photography workshop under Harvey Stein. Her class was asked to shoot a small collection of photographs based upon their surroundings.
“I asked myself how I was going to make my work stand out from all the other people in the workshop who were walking around shooting essentially street scenes,” Matulewski said.
“It was this meditative moment. I was on this spiritual high when I was there. Everything the color red represents was how I was feeling: alive, impassioned, and all those things the color symbolizes,” said Matulewski. “I thought, well, I have this slip. I’ll let all the other workshop participants wear it, and I’ll shoot them out at night. I ended up shooting pictures of myself as well. That’s how it all got started.”
Two years later, the Red Slip Project is still a work in progress. Participants, the subjects of the photographs who wear the red slip, have ranged from those near and dear to the artist to acquaintances.
“Oftentimes a friend of a friend will hear about what I am doing and say ‘I totally want to do that. Let’s meet up next Saturday.’ And it’s done. There’s this sense of instant gratification. There’s not too much planning,” said Matulewski. “Sometimes, if I know someone well enough, I will see how I want to shoot them. I may say ‘Hey, why don’t we try this?’ and the process is more collaborative.”
Since handed a camera as a young teenager, Matulewski has recorded her surroundings frame by frame. On a recent trip to Lubbock, Matulewski and her creative collaborator and fellow artist Annie Simpson took a collective 900 photographs in 48 hours.
Matulewski’s interest in bending and blurring accepted gender norms is evident in her photography and stage work. For Matulewski, art is her way of discovering how to be what she defines as her best self. From hyper-femme burlesque dance to drag-king, Matulewski seeks forms of expression where she feels free from constraint.
“It’s fun to try on all of these different characters. Each character is a combination of a lot of things that are inspiring me at that time,” said Matulewski.
“What it comes down to is finding strength within myself, and ultimately becoming more of who I already am.”
A synesthetic quality, where something such as sound makes the viewer see something else like a color, is the common thread between Simpson’s and Matulewski’s work. But what is good art?
Matulewski said that good art is achieved by simply doing something different.
“I always forget how my photographs can make people uncomfortable, make them a feel startled for a moment, but that always been how my art has been,” said Matulewski. “I don’t necessarily want to make people feel uncomfortable, but I would like it to become more of the norm. I want to make more work of what I want to see. That is what excites me. That is good art.”
The Where & The When
The Red Slip Project
The Austin Figurative Art Gallery
301 Chicon Street
Saturday. 7 p.m. - 11 p.m.
For more information see today’s Life & Arts section of the Daily Texan


Vanityfire Photography - Collaborations, Freelance, Promotional Portraiture, High Art

Administration, Adventure Seeking, Artiste, Creative Direction , Choreographer, Consumer Research , Costumer, Curator, Dancing Queen, Eccentric, Event Organization, Fast Actions,
Fostering Postitive Partnerships, Gathering Like Minds, Independent, Information
Exchange, Inventory Analysis, Marketing, Motivated, Personal Shopper, Photography Lover, Plate Spinner, Problem Solver, Performance Artist, Promotion, Responsible, Responsive, Relocation, Thirst for Knowledge, Travel Planning, Trustworthy,
Very Pleasant Disposition, Versatile, Visually Stimulated
Antique Photographic Processes, Aviation, Contemporary Art,
Documenting My Life, International Exploration, Image Hunting,
Graphic Design, Motorcycles,
Museums, Pop Art,
The Ocean, Vespas, Vintage Glamour
Creative Workers Union, Emerald City Press, Jeanne Stern,
Pollen Pix, SoGlass,
Vision Corporation, Zela Day Productions

5 Years

It has been announced that the world will end because of lack of natural resources. Ziggy is in a position where all the kids have access to the things they thought they wanted. The older people have lost all touch with reality and the kids are left on their own to plunder anything. Ziggy was in a rock and roll band and the kids no longer want rock and roll. There is no electricity to play it. Ziggy's advisors tell him to collect news and sing it 'cause there is no news. So Ziggy does this and there is terrible news. Ziggy's cosmology is that Starmen were the invisible infinites. Black hole jumpers, who through a dream, tell the human Ziggy Stardust to write of the imminent coming of the Starman to earth. He subsequently writes "Starman" which is the first hope that people have salvation since the news that the earth has only five years left.

Thursday, October 11, 2007

Shanti & Annie showing new works Oct. 20th at AFG

Annie and I will be showing new work one evening only at Austin Figurative Gallery at 301 Chicon.
Amber Rademacher will be spinning hot beats of love. You want to be there! xxx

Monday, October 8, 2007

I will be showing my red slip project and other works at Austin Figurative Gallery one night only October 20th. Annie Simpson will be showing in the Stairs gallery at AFG the same evening. I do hope you swing by our show on your way out into the night.
Stazzi Cash

Landmark Arts- Y Que- curated by Harmony Hammond

Y QUÉ? :: Shanti Matulewski
Ever since her father, a photographer, gave her her first camera at age 14, Shanti Matulewski has liked to photograph people, especially women. Vanityfires, an early body of work from around 2002, was a celebration of female energy. Conscious of being a woman photographing women, she wanted to find a way to emphasize woman as a sensuous feminine subject free from the oppressive male gaze. A performance artist as well as photographer, Matulewski then turned the camera on herself in a series of Self-portraits, consciously performing as both subject and object, making them one in the same.
Matulewski says that she moved from Dallas to Austin in 1994 to be part of a community of artists and performers. Like Nan Goldin, she takes photographs of people from these communities of which she is a member. For The Red Slip Project, a series of performative photographs begun in 2005 and continuing to the present, Matulewski loaned the same red slip, a sexually saturated article of clothing, socially gendered as feminine, to both men and women and asked them to relate to it, to “inhabit” the symbol of the slip while she photographed.
This resulted in a range of masculine and feminine expressions (not necessarily correspondingly attached to male/female biological bodies) and sexual ambiguity. As a prop and costume, the red slip allowed project participants to step outside their images of themselves and playfully perform for the camera and photographer or more intimately engage with the erotics of the object.
Ultimately the snap-shot sized photographs, and she takes a lot of them, are about a permissiveness to play with the slip and with gender. While of individual interest, they become formally and conceptually more interesting when enlarged and paired or combined in diptychs, triptychs, groupings or books. Together they constitute a group portrait of a gender-fluid and sexually experimental community. —HH
The Red Slip Project (diptych) [2005-2007]digital photographs, 18 x 36 x 2 inches.
The Red Slip Project (triptych) [2005-2007]digital photographs, 18 x 36 x 2 inches.
Courtesy of the artist.

You Gotta Love Art Manifestos , xxx DaDa Shanti

Dada Manifesto (1916, Hugo Ball)by Hugo Ball
Read at the first public by Dada soiree, Zurich, July 14, 1916.
Dada is a new tendency in art. One can tell this from the fact that until now nobody knew anything about it, and tomorrow everyone in Zurich will be talking about it. Dada comes from the dictionary. It is terribly simple. In French it means "hobby horse". In German it means "good-bye", "Get off my back", "Be seeing you sometime". In Romanian: "Yes, indeed, you are right, that's it. But of course, yes, definitely, right". And so forth.
An International word. Just a word, and the word a movement. Very easy to understand. Quite terribly simple. To make of it an artistic tendency must mean that one is anticipating complications. Dada psychology, dada Germany cum indigestion and fog paroxysm, dada literature, dada bourgeoisie, and yourselves, honoured poets, who are always writing with words but never writing the word itself, who are always writing around the actual point. Dada world war without end, dada revolution without beginning, dada, you friends and also-poets, esteemed sirs, manufacturers, and evangelists. Dada Tzara, dada Huelsenbeck, dada m'dada, dada m'dada dada mhm, dada dera dada, dada Hue, dada Tza.
How does one achieve eternal bliss? By saying dada. How does one become famous? By saying dada. With a noble gesture and delicate propriety. Till one goes crazy. Till one loses consciousness. How can one get rid of everything that smacks of journalism, worms, everything nice and right, blinkered, moralistic, europeanised, enervated? By saying dada. Dada is the world soul, dada is the pawnshop. Dada is the world's best lily-milk soap. Dada Mr Rubiner, dada Mr Korrodi. Dada Mr Anastasius Lilienstein. In plain language: the hospitality of the Swiss is something to be profoundly appreciated. And in questions of aesthetics the key is quality.
I shall be reading poems that are meant to dispense with conventional language, no less, and to have done with it. Dada Johann Fuchsgang Goethe. Dada Stendhal. Dada Dalai Lama, Buddha, Bible, and Nietzsche. Dada m'dada. Dada mhm dada da. It's a question of connections, and of loosening them up a bit to start with. I don't want words that other people have invented. All the words are other people's inventions. I want my own stuff, my own rhythm, and vowels and consonants too, matching the rhythm and all my own. If this pulsation is seven yards long, I want words for it that are seven yards long. Mr Schulz's words are only two and a half centimetres long.
It will serve to show how articulated language comes into being. I let the vowels fool around. I let the vowels quite simply occur, as a cat miaows . . . Words emerge, shoulders of words, legs, arms, hands of words. Au, oi, uh. One shouldn't let too many words out. A line of poetry is a chance to get rid of all the filth that clings to this accursed language, as if put there by stockbrokers' hands, hands worn smooth by coins. I want the word where it ends and begins. Dada is the heart of words.
Each thing has its word, but the word has become a thing by itself. Why shouldn't I find it? Why can't a tree be called Pluplusch, and Pluplubasch when it has been raining? The word, the word, the word outside your domain, your stuffiness, this laughable impotence, your stupendous smugness, outside all the parrotry of your self-evident limitedness. The word, gentlemen, is a public concern of the first importance.

Thursday, June 28, 2007

My interests today so far by 11:30am

Macrophelia/Giant Women
The Philosopher's Stone
Practicing Humility and Graditude
Calling people when I think of them
Printing processes
Jewelry making
Watching the rain
The Azores
Flight Training