masha badinter

rolling hills, spain

2011-03-23T16:15:00.000-07:00

dead sea, israel

2011-03-23T16:08:00.000-07:00

home is where the heart is

2010-10-04T10:16:00.000-07:00

distraction 2010 at lb

2010-06-22T20:47:00.000-07:00

2010-06-20T10:17:00.000-07:00

less teeth, less nails,

he said

More tongue, more lips!

two sweet young babies with sweet baby skin babysoft and babysmooth

but now we are so sticky and wet

AND we are melting into eachother onto each other and into each others mouths

you are swiss and I am provoalone

DEFINITELY LESS TEETH

he said,

more tongue more lips

more skin and tits and spit and cum

more nasty little things

SLAP MY ASS

I said

SLAP MY ASS AGAIN

FUCK ME

nobody can ever fuck me the way you do

i said

and then you asked me to say it to you again

and then in the morning you say youve overdone it

overdone, like a lasagna or a french roasted chicken

a giant thanksgiving turkey and now its ruined because it was left in the oven for too long

THE WHOLE THING

too much and now it is no good

you stuffed me with you giant dick and now I am so full that I couldnt even fit breakfast inside myself

SPACE IS THE PLACE

2010-05-19T14:16:00.000-07:00

2010-04-19T12:48:00.000-07:00

2009-11-24T19:25:00.000-08:00

2009-11-24T16:04:00.000-08:00

It was winter and there weren't any lush green rolling hills for me to video tape. The solution was a process that has become pretty useful and intriguing to me - recycling media from online sources. This is made of 5 or so videos that aint mine! It was made for our first new members show, Prospects at little berlin.

Im not liking the way blogger compresses images and videos!

me tarzan you jane

2009-11-21T23:23:00.000-08:00

artist create work of art - observer complete work of art- observer react in accordance to own past experience

2009-11-21T11:31:00.000-08:00

this endless landscape

2009-11-21T11:26:00.000-08:00

Really enjoy making these

on retrsospect

2009-11-18T11:37:00.000-08:00

Seing things in retrospect is a very intersting concept to me. The way we REALLY realize things is always after the fact.

Ive been having these conversations with people about "home*." When I say the word "home" it seems like we all think of a place where we are not currently living. Its not to say that we want to be living there now, because it's usually the place where we grew up, where our parents live or once lived. "Home" is a place that is strongly connected to, or represented by a feeling. That feeling comes from a memory. "Home" is something we remember; we identify it with something in our history rather than something in our present. But when we were there (all those years ago) it wasnt really that important.

** when I say the word home i dont mean it like "i gotta get home before it starts raining" or Shit, I left my tazer gun at home"

Another interesting place for retrospect is in realizing history. When we talk about historical events that happened a very long time ago- the stories of them are a lot more concrete. "This president was bad, This war happened for this and that reason, Everybody all felt this certain way during this certain time period." But when we talk about current events -the things that are happening in our lifetime, the explanations become vague, there is no general consesus that can be printed in textbooks. Ex. The war in Iraq, whats happening In Israel, the enviroment and what could be/should be done.

This may be the very thing that separates us from 'god,' the ultimate tragedy of humanity - always realizings things too late. This is what makes us human again and again - the fact that we will be forever learning from our own mistakes.

Wondering if my wonderment makes sense to others...

again

2009-11-15T00:11:00.001-08:00

Its important for me to distance myself from the complexities of my own life that drive me to make art. Instead, I find it more effective to find parallels between those issues and things that are more gentile, prettier. Windows, nature, etc

ROOM 4 U; Installation, 2009 - In order of encounter

2009-11-11T00:17:00.000-08:00

still needs serious tweeking

2009-10-23T12:45:00.000-07:00

animation of this still image:

taking a drive in the summertime

2009-08-03T13:53:00.000-07:00

first plans for

an installation

wooden frame roughtly 6x8 ft sq. walls made of fabrics with a more sturdy slightly green linen on the outside and a mesh color on the inside inbetween the two sheets will be fans and greenry- tree branches and leaves moving with the wind, projections of abstraced road footage. sound.

one and two and

2009-06-14T14:35:00.000-07:00

one and two and... is an exhibition about experiments in sound and motion. Nine artists express the current pace of life with multi-dimensional works that are in constant flux. The show features a dance party, several instances of improvised sound-making, various listening stations, a light show, kinetic sculptures and more. The exhibition is meant to operate as an occurrence; each moment of the evening will be different from the one before. Little Berlin invites you to come in and become a part of this progressive multi-media experience.

Participating Artists:

Ben Contois

Jim Scannel

Dan Murphy

Caitlin Welge

Megan Jensen

Jim G.

Masha Badinter

Jenna Wilchinsky

July 10- 25th

Little Berlin

119 W Montgomery Ave.

Opening Reception July 10

6-10PM

model

2009-04-28T09:51:00.000-07:00

I built this model of some rooms and a closet out of foam. Its roughly 25 inches long and 5 inches wide. Used two tungsten light fixtures. that is a photo of the structure

2009-04-27T10:35:00.000-07:00

ROOM 4 U

2009-04-27T10:26:00.000-07:00

floor plans, floor plans

2009-04-27T10:22:00.000-07:00

lil berlin throwdown

2009-04-06T22:11:00.000-07:00

inspired by Hans-Ulrich Obrist's online exhibition, "do it" and the notion of interpretation as an artistic principle, Little Berlin invites you to contribute a set of instructions for an installation/performance/ work of art to be interpreted and carried out by another. Feel free personalize your instructions according to the aesthetic nature and/philosophies of your own work. The ideas behind this experiment are to observe the effects of translation on artwork, topush the boudaries of traditional art-making and exhibiting, and of course to make cool shit!

All chosen instructions will be displayed with their corresponding outcome.

The instruction maker as well as the instruction carry-outer-er will be given credit.

All instructions recieved will be published and displayed at Little Berlin (dates of exhibition)

The following is the information needed along with the instructions:

name, birthday and location of the artist

name of the work

the instructions can be written in whatever format the artist sees fit, they could be numbered, written bullet points, written in a paragraph, essay format, poem, or just a few simple sentances however, do keep in mind that the instructions may be actually carried out so please consider the safety and integrity of the person who will recieve your instructions. compile the instructions with the proper level of specificity or ambiguity according to your own desired outcome of the work. Feel free to include images, drawings, sketches, or even materials to your contribution.

Saw Net 1.1

2009-03-15T20:02:00.000-07:00

before I awake i look out my window and before i awake i see your face before the days begun and when i get out to do my day to days-

that familiar hallway where theres that photo hanging of someboy dead and gone and shes got your smile Id like to think you are her son.

On a rainy day or i feel silly and days when i feel weak- I cant bear to look at her face at all

but its been hanging there for months and its been hanging here for months

and its so clear in my memory by now

I feel like you're looking at me behind a dead woman's eyes and if i look my soul will go through my stomach and my soul will leak out onto the floor-

and then ill have nothing left at all.

You see, I've never felt so nervous before about anyone or anyone's eyes before and before this I've never been more enthralled with anyone in my life.

Im waiting patiently for you to decide to run into me again and spend some time not getting to know me again or yourself again. again again again.

I make stories up in my head about how it will happen and I get so caught up in them-

these magical moments, that i have to remind myself that they are not real and i have to unwind myself cause im floating at the top left corner of the room -

not me, but my soul.

First i felt like Gaugiun or Bob Dylan but now I feel like Petrarch and it feels so good to be so into something again even though it may be for all the wrong reasons and it may be a lost cause for all the wrong reasons again.

non-existing conditions

2009-02-17T22:26:00.000-08:00

Imagine if myspace (or your space) was an actual, physical space. I suppose it wouldnt be free, but lets think hypothetically. It would be in a warehouse somewhere, maybe in kensington, or maybe even in space- on the astral plane. You would have to walk up roughly 6 flights of stairs and then you would open the door and turn on large industrial florescent lights- there would probably be really high cielings as well as exposed piping. And then there would be these larger than life, glowing photographs of yourself (like light boxes) and they would maybe even have captions under them ( florescent signs). You would even have to dust them off every now and then. The bizzare part is that you would know that even when you left to go do whatever it is you do in life, that they would still be existing, taking up 24/7 space in a dark room because you cant always keep the lights on because it costs too much.

window 1

2009-02-10T11:34:00.000-08:00

projection, flickering image, 28x24" window frame with broken glass, backlit paper, 2008

window 2

2009-02-10T11:33:00.000-08:00

a little bit of summer, a little bit of spring

2009-01-30T15:15:00.001-08:00

I am feeling nostalgic for my life a year ago. This is a a re-occurring issue. My state of mind, my level of excitement, confidence and inspiration for the future that I was embarking on then and am currently living now; not quite what I had in mind. Then, living on the outskirts of a different life; an imaginary life that i found so captivating and invigorating. A life that was raw and exciting. untouched, unknown.

In ways I consider myself having the same psyche as Paul Gauguin; always wanting more; and ultimately he never found what he was looking for, and as I go through life I wonder If the same will become of me.

I remember days when it was just getting warm; the days were getting longer the hunger to be outside, the wild things. (On a side note I consider summer to bring out the most sinister people in all of us, as winter turns everyone into their own version of a hermit.)

note.

2009-01-30T15:04:00.000-08:00

what am i trying to do? (first draft of thesis)

2009-01-26T14:39:00.000-08:00

In a very vague sense; I am interested in the relationships that people are involved in, and how they have changed/stayed the same with time/throughout history(*)

(*)I believe that my generation, tho seemingly more sexually/romantically open-minded, is jaded with relational delinquency as well as dissatisfaction. More people are just not satisfied, everyone has an issue with their romantic situation. So may people seem alone, and/or have no desire to share a future with another human being. This bothers me because of my own ideals (***)that have manifested through my own personal up-bringing.

(***)Ideals play a big role

Including but not limited to;

Relationships with family, with lovers, with friends (not so much the people themselves but rather the relationship one has with the ideas/thoughts they associate with the person)

More Specifically: Relationships with memories, with feelings, moments,

Relationships with ones self and with one's sences.

(the things one tends to notice/remember)

I try to confront these issues by providing or in some cases merely implying a multi-dimensional environment/setting or space which lends itself as a venue to sit back and just feel something.

A setting for a narrative that the viewer can themselves, complete.

I am hoping to let the viewer feel comfortable/vulnerable enough to focus not so much on what is in front of them (******) but rather what is inside of them/ what it makes them think/feel

**** The visual aspect (what i am presenting the viewer with) would be atmospheric, ambient, having a certain fluidity that is meant to sooth and calm.

More Specifically: imagery of windows(**)

**Windows;

For this project, I would like to simmulate the enviroment of a room/bedroom. An architecturaly simlple/plain room, one that can be easily identified as.

Romanticized memories that are fuzzy and vague /accessible enough for the viewer to use it as a foundation from which to re-build their own story/memory off of.

issues/questions I am asking myself:

I am interested in addressing the intent/process. I want to address the fact that I have spent time to re-make a memory, to place importance on re-making/ re-modeling of memories, the importance, if not just the dire need to remember things as a human being.

experience that is fabricated from the fragments of memories as I recall them.

considering that the memories are only my versions of a history of moments.

current/previous work;

I beileve the ideas and intent are strong, yet become hindered by the carrying out/presentation of the work itself; which often times seems unfinished or not totally realized. This is an issue I am struggling with because I myself beileve I am finished, yet the viewers want more. I have to decided weather or not the idea of something being unfinished is a deliberate characteristic of the work; in which case it needs to be investigated further and executed in a way that seems more intentional.

My process as an artist begins with feeling and impulses. The ones that I choose to investigate are often connected to a memory that I try to re-create visually, often in a (photo)graphic manner

some observations

2009-01-24T21:16:00.000-08:00

I get the feeling that in this life, people are often times un-fulfilled, more specifically in matters of love than anything else. Everybody around me including myself has a story and though they all differ, their is the one thing that is stringing them together - the painfully clear negative undertones of loss and discontent. Weather the person is unhappy in a relationship or unhappy alone, unhappily bouncing back and forth between lovers, or what have you - there is always something. In fact it is so common that I feel that my generation is permanently tinted with relational dissatisfaction - a generation that seems jaded. Its so sad.

once again...

2008-12-12T12:04:00.000-08:00

i am wanting to ask my parents what I was like when I was a child. I am remembering the subtleties of a life that I am no longer surrounded by. And It is those minute memories that haunt me rather than the big ones, as usual. The brisk saturday mornings in my father's car on the way to gymnastics practice. I did gymnastics? Now I cant even spell it. I was so bad at the high bars, I do remember that. We have photographs of my parents wedding day, and even those are enough to bring me to tears but I'm wondering about the everyday buzz of life and what it was like for them. The songs that made their hearts tender over and over, what they felt when they woke up in the morning when it was raining, how the felt about their parents and how they felt about death. My parents were so good looking in those photographs, they were so young and full of life, but there was something about them that I am still struggling to translate. Something that transcends youth, happiness, or anything else. The funny thing is ive felt more passionate about them and this than anyone else in life.

2008-12-07T19:41:00.000-08:00

Ephemeral Art, Eternal Idea

blueprint, instructions to bring forth an idea is the real enginuity

to address-the parallels between art and technology, art and life, art progressing at the the same pace

the need for representation- prevailing only in idea

the power of the idea, the power of the visual?

idea being the most valuable, powerful part of the art

the studio- a place to reflect, realize ideas, then make them materialize

work that is site specific.

everyone tell their own story bit its a tale which at best will become someone elses story

observer completes the work of art- observer reacts in accordance to his own past experieces

sets

2008-12-04T12:21:00.001-08:00

tense relationships

2008-11-19T15:46:00.000-08:00

it is 2008, picture a middle aged man coming home to an empty house, collared shirt and pants still on, staring into the fridge, face illuminated. staring into the fridge the same way your father is staring into the computer screen day in day out. the same way mother stares off into the black window into the black night as she washed dishes. This is everyday life ,un-enthused, often lonely, and most of all tired. Everyone is so tired. I here it in my fathers voice when I call the business line, in the recording message, forced English words from a foreign tongue, all for the business, all for the money. none of it means anything. We all do things that we don't want to do. Isnt it funny how people train themselves to refrain from reacting, learn to just accept the discontent, "im not happy, but who is?" Maybe this is just what happens as you get older.

back to these..

2008-11-17T16:53:00.000-08:00

flux proposal

2008-11-16T14:07:00.000-08:00

For this particular body of work, Masha Badinter and Sarah Quick are confronting the ideas of voyeurism and surveillance through the remodeling and re-appropriation of the photographic image. We would like to give viewers the chance to experience these images, vicariously as the voyuers, in a gallery setting without the discomfort or fear with which these roles are usually associated with. This theme is inspired by the connection between personal information and images in terms of their availability and accessibility. This connection is based on the paradox of privacy and on the web versus in real life. There is something very peculiar about not only the amount of information one is willing to display on the internet, but even more so, how much advantage another will take of it. Furthermore we have chosen to apply the boundless

Sarah Quick

perhaps web based communites, and the way people function within them are similar to the Because people not only put their own lives up on the internet but look at others, everyone has become a sort of voyeur. at the same time there are these constant lease for personal privacy against the government so its a real dichotomy. The blahblahblah

notes

2008-11-10T21:40:00.000-08:00

windows and lights coming out of darkness

floating

glowing

blinking

buzzing

dim

reflections

projecting on cotton or thin materials {tule?} or ither fabrics?

colors bleeding evoking serene mysterious cosmic vibrations

colors that are sexy and sultry and warm

contrasting the black

bleeding sun

reflection of the moving sun

movement

lines going towards the center

bus ride

bus ride with the bleeding sun

this will son be something other than a photograph

2008-10-04T21:18:00.000-07:00

moment (grandma's hand)

2008-10-01T20:10:00.001-07:00

street moves

2008-09-15T19:41:00.000-07:00

association

2008-09-15T19:36:00.000-07:00

hospital blues

2008-09-15T19:10:00.000-07:00

lens correction

2008-09-15T19:04:00.000-07:00

familia

2008-09-15T19:00:00.000-07:00

antwerpen

2008-09-08T15:08:00.001-07:00

MEGAWORDS VIDEO #2

2008-09-05T03:00:00.000-07:00

If you see this in a window come inside!!!!!!

amsterdam

2008-09-05T02:58:00.000-07:00

I miss you.

MEGAWORDS!

2008-09-05T01:19:00.000-07:00

VIDEO #1

something else

2008-09-05T00:56:00.000-07:00

2008-09-05T00:44:00.000-07:00

2008-09-02T18:59:00.001-07:00

out of 10, these are the 4 poloroids that came out. Definitely a learning experience.

2008-08-31T15:04:00.001-07:00

So back to the view camera project. The plan i thought up was reworked when i realized how much money it would cost as well as the importance of aesthetics. I decided on going right into instant color film because the photos being in color are very important to me. Furthermore sheet film (which would have to be developed elsewhere) for the camera for 75$ for 10 sheets. The only possibility was with Fuji FP-100c color instant film ($35.99 for 10 sheets).

I took the camera to N. American St right below Lehigh Ave because there is this dump that has glorious mountains of trash which so elegantly tower over some over grown weed-trees behind a rotting tall green fence with barbed wire at the top.

I was out there for 10-20 minutes just setting up the camera before the first police car stopped by to investigate. The two cops first asked if I was shooting a movie, then asked if they could be in it, then remembered that it was against their duties as officers of the law to appear as officers of the law in my movie which i wasn't even making. I had a few more run-ins with other concerned/curious folks of N. American St but thats not really what this blog is supposed to be about is it?

Anyway i wasted about 5 pictures- three are white, one is black, one is blue. I finally got the hang of it and have about 4-5 pictures that i can work with. I then decided i needed more film now that i am getting the hang of reading the light meter and setting the aperture and shutter correctly.

I go back to calumet ready to drop another $35.99 for another 10 pack of film to find out that i had bought the last pack way back when i was there and the two closest locations were Boston or Japan. With the holiday just around the corner the store was closing early, i had 3 hours to find someone that i semi-knew that would be willing to drive to Cambridge pick up the film and wait about 5-7 hours for me to get there as I had convinced a friend with a car that a road-trip to Boston is just what we need right now. Sadly it didn't happen.

So because of this I have taken the project in a bit of a new direction. The project is a kind of log of events, images, thoughts, and contemplations all generally about the ideas of large format photography, particularly how its being treated with digital photography, the photographing of the landscape and a few things in between.

More to come...

more....

2008-08-31T13:46:00.000-07:00

After the north philly night time shooting i went to europe for 18 days and shot some landscapes there. There is really only one that i would like to included in this blog because of its dire relevancy to the contemporary industrial landscape and i feel the photo itself works better in a singular setting. Here it is:

This photo was taken in Antwerpen, a Flemish city of Belgium. The 6 cranes are only there now as a sort of decoration, they aren't being used for anything except a place to hang up some holiday decorations. If you look really close (in front of the 5th crane from the left) you can see my traveling partner, Jenna along with out native Antwerpen friend Tony, who took us in and showed us around. Noticing the people really gives you an idea of how colossal this sight was. The cranes were huge!!!! The cranes stood on the edge of the waterfront of the river Schelde.

I may or may not rework the photo to make it fit a bit better in the other images i am showing in this blog. The cranes don't really look isolated as much as thy look cramped. Having the view camera in Europe would have been also very inconvenient considering my backpack was huge already and we were doing a great deal of walking. However, it would have definitely made for a better photograph, as you can see from the curvature of the earth at the bottom.

updates

2008-08-31T13:45:00.000-07:00

updates

So, summer is over and the school year has finally begun so I am able to use the view camera. During the summer I continued exploring the idea of a contemporary landscape with an emphasis on the representation of industry, voyeurism and a bit of surveillance. I spent some time shooting in the northeast part of Philadelphia, (primarily Kensington and Fishtown) at night. The photographing is happening at night because that is the time when the landscapes seem the most isolated. At night there are no people around and the buildings are empty- this is when they really come alive and you can truly experience the landscapes of Kensington and Fishtown. There is also something about the landscape emerging out of blackness that is really important to me because I want the image to exist as an individual moment instead of a component of an entire block, street, or even a city. In this way i suppose there is a kind of personification going on. Anyway. Here are a few photos:

Because these locations are in a shitty area I find the photos are taken best with a small digital camera, no flash and a fast bike or a friend's car. These aren't photos I can take with the view camera, sadly because its just to great a risk with an expensive camera that i don't even own. I guess the question now, is why? Well, I think the industrial landscape has become important to philadelphia, especially put in context to the specific area i am photographing. As we know, the northern part of philly is changing, and its happening very fast. This area is becoming heavily populated with young artists and musicians, galleries and organizations, coffee houses, thrift store, etc. The question is, what stays and what goes. With all this new culture theres no telling what the neighborhoods really were about. There is also the stigma of the "unsafe neighborhood" which is much less a stigma and just a reality in some parts more than others. The point however, is not the risk (if any) that is being taken to make the image. There is some kind of subtle peacefulness that i found in the outskirts of the city, the endless landscape of nameless factories, industrial establishments and there fences, dumpsters, shitty paint-jobs and broken signs. I feel that maybe its important to pay some kind of homage to what else these newly populated areas have, or had beyond the coffee shops and galleries (which are great too).

View Camera Plan

2008-02-14T07:56:00.000-08:00

I have divided my learning of the View Camera into 3 stages.

Stage One: Orthocromatic
First i will be using 5x7 Orthocromatic Lith Film, which is a film used for black and white photos and easier to develop in the dark room due to the fact that it is not sensitive to the spectrum of red-orange lights, so I can just take it out of the camera and develop it in the dark room with the amber-colored safe light.

Stage Two: Panochromatic
After the Orthocromatic film, i will move on to Panochromatic film, a black and white film that is sensative to all colors of light, thus craeting a photo with more detail, but more difficult to develop in the darkroom. I will be using a special tank that will hold the sheet film and protect it from the safe light.

Stage Three: COLOR!
This is the most exciting stage. I will be using color film in the view camera. Im not sure which kind yet. I am thinking about investing in some Poloroid 55 film. whopety doo dah!

VIEW CAMERA

2008-02-14T06:37:00.000-08:00

So I have finally decided to use this blog for what Its really meant for.
My goal for this semester, amongst many other things, is to learn and master the usage of the View Camera. Why? Well, although the view camera was developed around the same time as the Daguerreotype, its still used today to control not only focus but onvergence of parallel lines. Because of this, the view camera is an ideal tool for architectural photography, because it has a grid on the ground glass, so when youre looking through the camera you can use the parallel lines to line up with whatever to create the perfect photo. I became interested in using the view camera after a photo series i started , and am still working on inspired by nostalgic landscapes. The series is also about the idea of an over abundance of vacancy and emptiness in a world that seems so built-up and over run by people and industries. It seems that people take a place and build it up to better accommodate themselves and then just abandon it. This was the first photo of the series:

Back to the View Camera, I wanted to the horizon line to be a dominant factor in all the photos. Symmetry is also a factor i am thinking about, keeping the photos simple and symmetrical, with no extra content i want to achieve a sort of horizontal flatness of plane, similar to a Rothko painting. The view camera would be perfect for achieving this kind of perfect symmetry.