ART? Maria Marshall uses her 2 young sons as her 'artwork' (pizzagate)

submitted ago by TrishaUK

Hi Guys, I just came across MARIA MARSHALL - on #PIZZAGATEs video on YouTube - what do you think? Source: (NEW) Tony/Heather Podesta Sponsors Maria (PEDO) #PIZZAGATE https://www.guggenheim.org/artwork/10729 I have added a few more links to her work, interesting humph! The comment by Krag Narok about the Hampstead Heath destination on the bus was notable!! I Hate R.Dearman with a passion!! I live in the UK have been following Alisa and Gabriel since just after their experiences were posted online. I really hope and pray they are reunited with their mother Ella. - Not checked about Maria Marshall but it says right up on the first page: her artwork for President Bill Clinton, Memphis Nov 13, 1993!! Going to check further. Btw some of the web links say the server is temporarily unavailable, seems shes already privatising her web pages! I notice she has a ‘scarab beetle’ relates to Satanism I remember hearing? https://www.youtube.com/watch?v=dnYp70SIqnc 1.15 min q&a video https://www.youtube.com/watch?v=tKfG9irehv0 Why does this artist name this photo Pres. Bill Clinton. Memphis Nov 13, 2013? http://www.teamgal.com/exhibitions/86/untitled_01 Also weird photos of her young sons. Whats this all about? http://www.artnet.com/artists/maria-marshall/i-did-like-being-born-i-falled-out-of-the-air-i-6u2kCtpJhun6iMuUuXD81g2

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Untitled '01 Maria Marshall March 17th – April 14th 2001 83 Grand Street Press Time Out New York Team will present an exhibition of new work by Maria Marshall from the 17th of March through the 14th of April 2001. Team is located at 527 West 26th Street, cross streets Tenth and Eleventh Avenues, on the ground floor.

During 2000, London-based artist Maria Marshall had seven solo shows and participated in several large-scale international museum exhibitions. Marshall has exhibited her work in Paris, Prague, Chicago, San Francisco, Istanbul, Brussels, Boston, Los Angeles and London, among others. Since her debut at Team in October of 1998 — a short two and one-half years ago — public institutions in Italy, Portugal, Scotland, Switzerland and Austria have included her digital projections in high-visibility theme shows. Her work continues to be in great demand.

Marshall’s new works again mine the dark psychological space accessible only through the manipulations of the medium of film. Here she presents three projections — two originally shot on super 16mm and one whose camera original is 35mm — one almost within a Classical Marshall mode; the other two radical departures in terms of technique and content.

The show’s centerpiece is entitled When are we there? For this film, the most disturbing work in the show — quite possibly the most disturbing work of her career — Maria places herself in front of the camera. Frozen in a Kubrick-like interior of wealth and power, the artist stands motionless as the camera pans over her body. As we watch the camera watch, her flesh is disturbed as though our gaze itself was bruising her body, rippling her veins and grabbing her throat. The six-minute loop repeats three passes of the same footage, during each pass, however, the special effects change in intensity, leading the viewer to question their own vision. Theresa’s Story is structurally quite simple. The artist’s son told his mother a story, which he claimed to have heard that day from a teacher. Marshall was intrigued by the element of performance in the boy’s retelling of this narrative and arranged to film him. As presented, Theresa’s Story shows us two views of the boy, facing forward and in profile, telling the same story on different days. His elaborations relate to each other creating an intertext with the density of a puzzle. As both tales are shown side by side, the additions and subtractions from the first telling to the second, make very clear the role of acting in the oral delivery of stories. The artist’s investigative process has yielded a glimpse of real life’s inherent fiction.

In President Bill Clinton, Memphis, November 13, 1993, Marshall presents her two sons, Jacob and Raphael in a sumptuous sun filled-interior. Diffused light streams trough a large window completing an image of material comfort and well being. In this room, in stop-motion, we see the boys endlessly unwrapping gifts. The narration, read haltingly by Marshall’s four-year old, is a fragment from a Clinton speech ostensibly about Martin Luther King's legacy. By wrenching the text from the adult professional and placing it in the mouth of a youngster, Marshall gets at the emotive center of Clinton’s speech with alarming force. The boys asks, “Who will be there to take care of these children?” as we witness an endless stream of consumption.

This is Marshall’s third exhibition at Team. For further information and/or photographs, please call 212.279.9219. Gallery hours are Tuesday through Saturday, 11 am to 6pm. « Candy Factory Exhibition history Body Double X »

team (gallery, inc.) +1 212 279 9219

83 Grand Street ny ny 10013 team (bungalow) +1 310 339 1945 306 Windward Avenue venice ca 90291

THIS WOMAN IS JUST STRANGE ‘I love you mummy, I hate you’ by Maria Marshall – final paragraph (favouring aestheticism, the almost advertising-like projection of the paradoxically soft, calm face of a CHILD IN A STRAIGHTJACKET ) http://www.mac-s.be/en/expositions/56/I-Love-You-Mummy-I-Hate-You-by-Maria-Marshall

https://www.google.co.uk/search?q=maria+marshall+artist&source=lnms&tbm=isch&sa=X&ved=0ahUKEwi61_O9_9_SAhXKAsAKHQ2xDtAQ_AUICSgC&biw=1280&bih=670

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cantsleepawink ago

Here's a video from her vimeo channel entitled Bewitched https://vimeo.com/146631914

Tavistock mind control bullshit. Clearly she had a disturbed upbringing. The interview you showed with her indicates to me that she is no intellectual. That's not what her work is about. More experiential. Interesting that the art world does not delve into that. Usually any art critic worth their salt examines motivations behind an artist's work. Take the Guggenheim for example:

https://www.guggenheim.org/artwork/artist/maria-marshall

Many of Marshall’s video works have featured children in troubling adult situations. Often, their titles are derived from the utterances of her children. When I Grow Up I Want To Be a Cooker (1998) features footage of her son digitally altered so that it appears as though he is smoking. I should be older than all of you (2000) reveals a wide-eyed child lying in a box, surrounded by slithering snakes. When are we there? (2001) is a six-minute loop that winds through the corridors of a nondescript institutional building, ultimately ending up in a room in which Marshall herself stands; the camera approaches and focuses on her skin, which appears to move as though touched by phantom hands. For Puzzle Fit (2002–03), Marshall taped a group of preadolescent students, outfitted with microphones, in a disco; images of the students commingling and dancing appear with subtitles of their gossipy discussions on a four-part split screen, as 1970s dance music plays in the background. For 3 Minute Wonder, screened on London’s Channel 4 in 2006, Marshall created three films each consisting of three-minute deconstructed biographies of her son, her grandmother, and herself.

'Many of Marshall’s video works have featured children in troubling adult situations.' Interesting that the question 'Why?' is never posed. Seems to be mainly aimed at an audience with an appetite for such things.