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.
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+1 212 279 9219
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ny ny 10013
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+1 310 339 1945
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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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rooting4redpillers ago
Maria Marshall, artwork titled: President Bill Clinton, Memphis, Nov. 1993 | 2000 | DVD projection, ed. of 5 | $12,000 (sold) at TEAM.
SOLD - for $12,000
Added: Trying to learn about this purchase via Guggenheim web pages, but for the last hour, the pages won't load. Maybe later.
Added: Maria Marshall's President Bill Clinton was purchased by Bill and Ruth True. Here's an article about them:
true believers - Seattle collectors Bill and Ruth True combine a taste for the cutting edge with an abiding commitment to their community. | Sept 2007
Excerpts and Fun Facts: Widely considered to be among the top 200 art collectors in the world ... they also make their collection available to the public, free of charge, through their non-profit gallery, Western Bridge. ... one piece out of every show is pledged to the University of Washington’s Henry Art Gallery [currently featuring MOTHA: Trans Hirstory in 99 Objects - Taking an inclusive approach to transgender, gender non-binary, and gender transgressive identities and expressions...] ... Bill True is chairman of Gull Industries. Founded by his father and grandfather as Gull Oil in 1959, the petroleum distribution business expanded into real estate, becoming one of the 25 largest companies in Washington State by 1998 ... Both Gull Industries and the Trues donate to a vari[ety of medical, educational, and arts-related causes, as well as to Democratic politics. The Trues are renowned for living with difficult work, raising children in a house with an Alfredo Jaar installation of Rwandan boys watching an execution. Sam Taylor-Wood’s video of a woman laughing and crying hysterically was in the kitchen, a Dan Flavin in the stairwell, a Tony Oursler under it. “We like edgy work,” she says, “work we’re challenged by, that makes people uncomfortable. I just love it when friends come in and say, ‘I hate that.’ It’s the biggest insult in the world not to have an opinion.”
Another Add: Here's an article that briefly mentions the Trues, if you're interested in the subject: Is Permanence Best? A New Model of Art Collecting | Oct 2002. Excerpt: The project works something like an investing group, something like a football pool: Members pony up $15,000 a year for three years, and Farris uses this money to buy art. The art cycles through members' homes every six months or so, and eventually the collection will either be donated to a museum or administered by a foundation that will loan it out to museums. The tax benefit of the donation--based on the value of the works at the time of the donation--will be divided among the members.
ArthurEdens ago
wtf