DOCSLIB.ORG

Video Spaces : Eight Installations

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Video Spaces : Eight Installations *» Video m Spaces: Eight Installations < i i III *.V—4 & '* . The Museum of Modern Art i *' Video Spaces The Museum of Modern Art Distributed by Harry N. Abrams, Inc., New York 1 Video Spaces: Eight Installations by Barbara London Published on the occasion of the exhibition Video Spaces: Eight Installations, organized by Barbara London, Associate Curator, Department of Film and Video, The Museum of Modern Art, New York, June 22-September 12, 1995. This exhibition is supported in part by grants from The Japan Foundation, individual members of The Contemporary Arts Council of The Museum of Modern Art, and the Canadian Consulate General, New York. Transportation assistance has been provided in part by Japan Airlines. Copyright © 1995 by The Museumof Modern Art, New York Certain illustrations are covered by claims to copyright cited in the Photograph Credits. All rights reserved. Library of CongressCatalogue Card Number 94-073386 ISBN0-87070-646-2 (MoMA/T&H) ISBN0-8109-6146-6 (Abrams) Produced by the Department of Publications The Museum of ModernArt, New York Osa Brown, Director of Publications Edited by Alexandra Bonfante-Warrenand Barbara Ross Geiger Designed by Emsworth Design, NewYork Production by Marc Sapir Published by The Museumof ModernArt Printed by Meridian Printing, East Greenwich, 11 West 53 Street, New York, New York 10019 Rhode Island Bound by MuellerTrade Bindery, Middletown, Distributed in the United States and Canada Connecticut by Harry N. Abrams, Inc., New York, A Times Mirror Company Distributed outside the United States and Canada by Thames and Hudson, Ltd., London Printed in the United States Cover:Background, Tony Oursler,System for Dramatic Feedback, 1994. Insets, photographic details of other installations in the exhibition. Contents Acknowledgments Introduction by Samuel R. Delany "Video Spaces" by Barbara London "3 Judith Barry/Brad Miskell Stan Douglas Teiji Furuhashi Gary Hill Chris Marker Marcel Odenbach Tony Oursler Bill Viola Photograph Credits 78 Bibliography 79 Acknowledgments In recent years video has merged with such Peggy Gale, Mona Hatoum, Ralph Hocking, fields as architecture, sculpture, and perfor Mary Milton, Nam June Paik, Tom Wolf, and mance to create a dynamic new art form: video Henry Zemel. installation. Video Spaces: Eight Installations is A collegial team within the Museum has the first exhibition at The Museum of Modern made Video Spaces possible. Sally Berger, work Art to feature some of the world's most recog ing with the Video Program's committed group nized innovators in this area. of interns, perceptively and efficiently oversaw The organization of this exhibition has myriad details, including the compilation of been a stimulating and rewarding experience, biographical material for the catalogue. Daniel enriched by the wit of the artists themselves. Vecchitto and John L. Wielk helped secure I would like to thank Judith Barry and Brad funding for the exhibition. James S. Snyder Miskell, Stan Douglas, Teiji Furuhashi, Gary and Eleni Cocordas coordinated complex logis Hill, Chris Marker, Marcel Odenbach, Tony tics, and Jerome Neuner devised the innovative Oursler, and Bill Viola, who have been involved installation design, which was carried out by in every phase of the project. Not only is their Peter Omlor and the exhibition production work visually and conceptually insightful but staff. Projectionist Charles Kalinowski capably they are congenial collaborators as well. guided us through the complex technical The contributions of numerous colleagues aspects of the individual installations. Nancy have insured the project's success. While I am Henriksson of the Registrar's office oversaw unable to acknowledge all of them here, I want shipping arrangements, and Elizabeth Tweedy to mention several key people. The exhibition Streibert brilliantly conceived the tour. I appre has been generously supported by the ciate the assistance of Daniel Starr and Eumie Museum's Video Advisory Committee and mem Imm, of the Museum Library, and of Jessica bers of the Contemporary Arts Council, which Schwartz and Samantha Graham, who have have graciously given their time, expertise, enthusiastically publicized the exhibition. and financial assistance. I especially thank The Department of Publications was Margot Ernst, Barbara Foshay-Miller, Joyce and responsible for the production of the cata George Moss, Patricia Orden, Barbara Pine, and logue; I want to thank Osa Brown, Nancy Barbara Wise. The assistance of colleagues at Kranz, and Harriet Schoenholz Bee, as well as The Japan Foundation and the Canadian Con editors Alexandra Bonfante-Warren and Barbara sulate in New York has also been greatly appre Ross Geiger for their clarity, and Marc Sapir for ciated. skillfully finding "electronic" solutions to the The artists' dealers and their staffs were production process. For the innovative book exceptionally helpful: Nicole Klagsbrun, Janelle design, I am indebted to Tony Drobinski, who Reiring and Helen Weiner of Metro Pictures, once again rose to the challenge of portraying Jim Cohan of Anthony D'Offay Gallery, Donald video art on the printed page; to Devika Young, and David Zwirner. I also want to thank Khanna; and to Jody Hanson, who supervised Susanne Ghez of the Renaissance Society, the design of both the catalogue and the Yukiko Shikata and Kazunao Abe of Canon installation graphics. ARTLAB,Sherri Geldin and Bill Horrigan of the I particularly want to thank Richard E. Wexner Center for the Visual Arts, Edith Oldenburg, Director Emeritus; Glenn D. Lowry, Kramer of the Pacific film Archive, James Director Designate; Mary Lea Bandy and Lau Quandt of the Cinematheque Ontario, Carlota rence Kardish, of the Department of Film and Alvarez Basso of the Museo Nacional Centro de Video; Kirk Varnedoe and Robert Storr, of the Arte Reina Sofia, Rolf Lauter of the Museum Department of Painting and Sculpture; and fur Moderne Kunst (Frankfurt-am-Main), Kira Riva Castleman, of the Department of Prints Perov and Dianna Pescar of Bill Viola Studios, and Illustrated Books. Their dedication to this and Lori Zippay and Stephen Vitiello of Elec project transformed an idea into reality. tronic Arts Intermix. For their input of various kinds, I want to recognize Paola Antonelli, Deirdre Boyle, Sheryl Conkelton, John Coplans, —B.L. Introduction by Samuel R. Delany I began reading science fiction well back CordwainerSmith, AlfredBester, Theodore in elementary school, toward the start of Sturgeon, Joanna Russ, and ThomasM. the 1950s. An experienceI connect with Disch. Secondis the visual form—com that early reading is a visit to The mercial comicsand films—in which any Museumof Modernart in the seventh or concern for clear observation of the world eighth grade. The piece in the Museum is lost to the overwhelmingfear of plac that struck me most forcefullyas a child ing any intellectual strain on the audi (a child who had been reading science ence. Fromtime to time the visual form fiction stories for a year or two) was does produce an interesting surface—for ThomasWilfred's Vertical Sequence, Op. example,in comic-bookillustrator Alex 137 (1941), one of a series of works he Raymond'sFlash Gordonseries, or in called Lumiacompositions. filmmakerGeorge Lucas's Star Warstril VerticalSequence stood in the middle ogy. What keeps this surface from amass of one of the side galleries—a small box, ing any substantial conceptual weight is on one side of which was a translucent its producers'fear of the audience's glass screen. On this surface, propelledby response should that surface ever display hidden mirrors, lenses, lights, and any identifiable ideas. mechanicalmotors within the box, colors The popular notions connected with swirled, drifted, vanished, and reappeared science fiction—the special effects of "sci in syrupy, attenuated slow motion. Verti fi"—come almost entirely from this sec cal Sequencewas the piece I and my ond form. The worth and significanceof classmatestalked about after we left the the field come entirely from the first, Museum,the piece we urged all our even when the occasionalreader, excited friends to see. It wasn't quite a painting. by ideas generated by the written form, It didn't hang on a wall. Thoughit stood applies them in interesting ways to some free in the center of a room, it wasn't a of the visual surfaces produced by the sculpture: the part you paid attention to second. It is worth noting, then, that the comprisedimages on a flat surface. For a young people who were excited by Verti long time VerticalSequence had its own cal Sequencewere science fiction readers, small, darkened gallery—like a contem not viewers. (The real descendants of Wil porary installation. Although clearly the fred's Lumiacompositions are the "light movementon the screen was created by shows"that accompaniedrock concerts mechanicalmeans (if you put your ear throughout the 1960s and 1970s. Though against it, you could just make out the many of these are now computerized— whirrr of rotors), rather than electronic and video has certainly made its inroads circuitry, it seemed—at least to the here as well—most of the effects, like child's eye—to have something to do those of VerticalSequence, are still largely with television, which had only recently created using mechanicalmeans.) become widely available. In John Varley'sfine science fiction Sciencefiction has always come to us story ThePhantom Kansas (1976), in two forms. The first and more signifi weather sculptors create marvelous cant is the written form, which ranges weather "symphonies,"using computers, from the swashbucklingadventures of dry ice, and explosionsto create torna "Doc"Smith and the semiliterate Colonel does, lightning bolts, and cloud forma S. P. Meek,to the sophisticated and ver tions that move back and forth across the bally rich work of Stanley G. Weinbaum, sun over the course of a few hours or 10 even days. In this story of a murder vic way up out of necessity, so that nothing tim brought back to life to seek out her is missed.
Load more

Recommended publications
  • The Artist's Voice Since 1981 Bombsite
    THE ARTIST’S VOICE SINCE 1981 BOMBSITE Peter Campus by John Hanhardt BOMB 68/Summer 1999, ART Peter Campus. Shadow Projection, 1974, video installation. Courtesy Paula Cooper Gallery. My visit with Peter Campus was partially motivated by my desire to see his new work, a set of videotapes entitled Video Ergo Sum that includes Dreams, Steps and Karneval und Jude. These new works proved to be an extraordinary extension of Peter’s earlier engagement with video and marked his renewed commitment to the medium. Along with Vito Acconci, Dara Birnbaum, Gary Hill, Joan Jonas, Bruce Nauman, Nam June Paik, Steina and Woody Vasulka, and Bill Viola, Peter is one of the central artists in the history of the transformation of video into an art form. He holds a distinctive place in contemporary American art through a body of work distinguished by its articulation of a sophisticated poetics of image making dialectically linked to an incisive and subtle exploration of the properties of different media—videotape, video installations, photography, photographic slide installations and digital photography. The video installations and videotapes he created between 1971 and 1978 considered the fashioning of the self through the artist’s and spectator’s relationship to image making. Campus’s investigations into the apparatus of the video system and the relationship of the 1 of 16 camera to the space it occupied were elaborated in a series of installations. In mem [1975], the artist turned the camera onto the body of the specator and then projected the resulting image at an angle onto the gallery wall.
    [Show full text]
  • Press Release
    Contact: Mark Linga 617.452.3586 [email protected] N E W S R E L E A S E The Media Test Wall Presents Video Trajectories (Redux): Selections from the MIT List Visual Arts Center New Media Collection featuring works by Bruce Nauman, Dara Birnbaum, Bill Viola, Nam June Paik and Gary Hill Viewing Hours: Daily 24 Hours Cambridge, MA – September 2008. The MIT List Visual Arts Center’s Media Test Wall presents Video Trajectories (Redux): Selections from the MIT List Visual Arts Center New Media Collection. This five-part exhibition series features selections from the List Center’s exhibition Video Trajectories (October 12-December 30, 2007) which was originally organized by MIT Professor Caroline A. Jones. The five selections in Video Trajectories (Redux), considered masterworks from video art history were acquired to become part of the MIT List Center’s New Media Collection. This exhibition re-introduces these works to a broader public: September 12-October 10 Bruce Nauman Slow Angle Walk (Beckett Walk), 1968 Video, black-and-white, sound, 60 minutes © 2008 Bruce Nauman/Artists Rights Society (ARS), New York, NY For Bruce Nauman, the video camera is an indispensable studio tool and witness. Barely edited, a characteristic Nauman tape from the late '60s shows the artist laconically following some absurd set of directions for an extended amount of time within the vague purview of a video camera mounted at a seemingly random angle in relation to the action. Slow Angle Walk is a classic of the genre, reflecting the artist's interest in Irish playwright Samuel Beckett, whose characters announce, "Let's go!" while the stage directions read, "No one moves." October 13-November 14 Dara Birnbaum Technology/Transformation: Wonder Woman, 1978-79 Video, color, sound, 5 minutes 50 seconds Courtesy of Electronic Arts Intermix Trained in architecture and painting, Birnbaum early on understood the estranging power of repetition.
    [Show full text]
  • New Digital Art Space Revealed in the Santa Fe Railyard Art Vault at the Thoma Foundation Opens April 30 •••••••••••••••••••••••••••••••••••••••• •
    FOR IMMEDIATE RELEASE: April 21, 2021 Media Contact: Nicole Danti [email protected] New Digital Art Space Revealed in the Santa Fe Railyard Art Vault at the Thoma Foundation opens April 30 •••••••••••••••••••••••••••••••••••••••• • Santa Fe, New Mexico: The Carl & Marilynn Thoma Foundation announces the opening of a new 3,500 square-foot space for experiencing contemporary art in the Santa Fe Railyard District. Art Vault is dedicated to sharing the Foundation’s world-class collection of digital, electronic, virtual, and new media artworks, curated in thematic exhibitions. Art Vault at 540 South Guadalupe Street is the only digital art collection open to the public in the Southwest, and one of very few in the United States. Artworks from the Thoma Foundation collection are on view year-round, rotating seasonally. There is no admission fee, and school and group tours are available by appointment. Featured exhibitions will include emerging and mid-career artists alongside internationally renowned pioneers of video sculpture, self-taught computer artists, and influential digital time- based media artists. Large-scale digital and video installations invite viewers to broaden their understanding of technology with innovative perspectives on the human experience. Art Vault will take the place of The Thoma Foundation’s Art House, at 231 Delgado Street in Santa Fe, which will transition to the Foundation’s main office location. Founder Carl Thoma’s vision to bring larger, more accessible works of digital and media art to the international art hub of Santa Fe has been realized. “We are thrilled to increase our cultural contribution to the vibrant visual arts scene in Santa Fe.
    [Show full text]
  • Photography and Cinema
    Photography and Cinema David Campany Photography and Cinema EXPOSURES is a series of books on photography designed to explore the rich history of the medium from thematic perspectives. Each title presents a striking collection of approximately80 images and an engaging, accessible text that offers intriguing insights into a specific theme or subject. Series editors: Mark Haworth-Booth and Peter Hamilton Also published Photography and Australia Helen Ennis Photography and Spirit John Harvey Photography and Cinema David Campany reaktion books For Polly Published by Reaktion Books Ltd 33 Great Sutton Street London ec1v 0dx www.reaktionbooks.co.uk First published 2008 Copyright © David Campany 2008 All rights reserved No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publishers. Printed and bound in China by C&C Offset Printing Co., Ltd British Library Cataloguing in Publication Data Campany, David Photography and cinema. – (Exposures) 1. Photography – History 2. Motion pictures – History I. Title 770.9 isbn–13: 978 1 86189 351 2 Contents Introduction 7 one Stillness 22 two Paper Cinema 60 three Photography in Film 94 four Art and the Film Still 119 Afterword 146 References 148 Select Bibliography 154 Acknowledgements 156 Photo Acknowledgements 157 Index 158 ‘ . everything starts in the middle . ’ Graham Lee, 1967 Introduction Opening Movement On 11 June 1895 the French Congress of Photographic Societies (Congrès des sociétés photographiques de France) was gathered in Lyon. Photography had been in existence for about sixty years, but cinema was a new inven- tion.
    [Show full text]
  • We Let the Quiet out from Below Its Curtain
    Seattle City Council Public Safety, Government Relations, and Arts Committee Meeting Tuesday, 2:00 PM, August 15, 2006 Words’ Worth The Poetry Program of the Seattle City Council Curated by Jeannette Allée Today’s poet is Gary Hill Gary Hill was born in Santa Monica, CA and currently lives in Seattle. Originally a sculptor, Hill began working with sound, text, and video in the early 1970’s and has produced a large body of both single-channel video works and mixed-media installations. His video, installation and performance work has been presented at museums and institutions throughout the world, including solo exhibitions at the Musée national d'art moderne, Centre Georges Pompidou, Paris; Guggenheim Museum SoHo, NY; Museum für Gegenwartskunst, Öffentliche Kunstsammlung, Basel; Museu d’Art Contemporani, Barcelona; and Kunstmuseum Wolfsburg, among others. Hill has received fellowships from the National Endowment for the Arts and the Rockefeller and Guggenheim Foundations, and has been the recipient of numerous awards and honors, most notably the Leone d’Oro Prize for Sculpture at the Venice Biennale in 1995 and a John D. and Catherine T. MacArthur Foundation “Genuis” Grant in 1998. Site Recite (a prologue) by Gary Hill Nothing seems to have ever been moved. There is something of every description which can only be a trap. Maybe it all moves proportionately cancelling out change and the estrangement of judgement. No, an other order pervades. It's happening all at once, I'm just a disturbance wrapped up in myself, a kind of ghost vampirically passing through the forest passing through the trees.
    [Show full text]
  • Season 8 Screening Guide-09.09.16
    8 ART IN THE TWENTY-FIRST CENTURY SCREENING GUIDE TO THE EIGHTH SEASON © ART21 2016. All Rights Reserved. art21.org | pbs.org/art21 GETTING STARTED ABOUT THIS SCREENING GUIDE Through in-depth profiles and interviews, the four- This Screening Guide is designed to help you plan an part series reveals the inspiration, vision, and event using Season Eight of Art in the Twenty-First techniques behind the creative works of some of Century. For each of the four episodes in Season today’s most accomplished contemporary artists. Eight, this guide includes: ART21 travels across the country and abroad to film contemporary artists, from painters and ■ Episode Synopsis photographers to installation and video artists, in ■ Artist Biographies their own spaces and in their own words. The result ■ Screening Resources is a unique opportunity to experience first-hand the Ideas for Screening-Based Events complex artistic process—from inception to finished Screening-Based Activities product—behind today’s most thought-provoking art. Discussion Questions Links to Resources Online Season Eight marks a shift in the award-winning series. For the first time in the show’s history, the Educators’ Guide episodes are not organized around an artistic theme The 62-page color manual ABOUT ART21 SCREENING EVENTS includes infomation on artists, such as Fantasy or Fiction. Instead the 16 featured before-viewing, while-viewing, Public screenings of the Art in the Twenty-First artists are grouped according to the cities where and after-viewing discussion Century series illuminate the creative process of questions, as well as classroom they live and work, revealing unique and powerful activities and curriculum today’s visual artists in order to deepen audience’s relationships—artistic and otherwise—to place.
    [Show full text]
  • N.Paradoxa Online Issue 4, Aug 1997
    n.paradoxa online, issue 4 August 1997 Editor: Katy Deepwell n.paradoxa online issue no.4 August 1997 ISSN: 1462-0426 1 Published in English as an online edition by KT press, www.ktpress.co.uk, as issue 4, n.paradoxa: international feminist art journal http://www.ktpress.co.uk/pdf/nparadoxaissue4.pdf August 1997, republished in this form: January 2010 ISSN: 1462-0426 All articles are copyright to the author All reproduction & distribution rights reserved to n.paradoxa and KT press. No part of this publication may be reprinted or reproduced or utilized in any form or by any electronic, mechanical or other means, including photocopying and recording, information storage or retrieval, without permission in writing from the editor of n.paradoxa. Views expressed in the online journal are those of the contributors and not necessarily those of the editor or publishers. Editor: [email protected] International Editorial Board: Hilary Robinson, Renee Baert, Janis Jefferies, Joanna Frueh, Hagiwara Hiroko, Olabisi Silva. www.ktpress.co.uk The following article was republished in Volume 1, n.paradoxa (print version) January 1998: N.Paradoxa Interview with Gisela Breitling, Berlin artist and art historian n.paradoxa online issue no.4 August 1997 ISSN: 1462-0426 2 List of Contents Editorial 4 VNS Matrix Bitch Mutant Manifesto 6 Katy Deepwell Documenta X : A Critique 9 Janis Jefferies Autobiographical Patterns 14 Ann Newdigate From Plants to Politics : The Particular History of A Saskatchewan Tapestry 22 Katy Deepwell Reading in Detail: Ndidi Dike Nnadiekwe (Nigeria) 27 N.Paradoxa Interview with Gisela Breitling, Berlin artist and art historian 35 Diary of an Ageing Art Slut 44 n.paradoxa online issue no.4 August 1997 ISSN: 1462-0426 3 Editorial, August 1997 The more things change, the more they stay the same or Plus ca change..
    [Show full text]
  • Key: * Organized by the Wexner Center + New Work Commissions/Residencies ♦ Catalogue Published by WCA ● Gallery Guide
    1 Wexner Center for the Arts Exhibition History Key: * Organized by the Wexner Center + New Work Commissions/Residencies ♦ Catalogue published by WCA ● Gallery Guide ●LaToya Ruby Frazier: The Last Cruze February 1 – August 16, 2020 (END DATE TO BE MODIFIED DUE TO COVID-19) *+●Sadie Benning: Pain Thing February 1 – August 16, 2020 (END DATE TO BE MODIFIED DUE TO COVID-19) *+●Stanya Kahn: No Go Backs January 22 – August 16, 2020 (END DATE TO BE MODIFIED DUE TO COVID-19) *+●HERE: Ann Hamilton, Jenny Holzer, Maya Lin September 21 – December 29, 2019 *+●Barbara Hammer: In This Body (F/V Residency Award) June 1 – August 11, 2019 *Cecilia Vicuña: Lo Precario/The Precarious June 1 – August 11, 2019 Jason Moran June 1 – August 11, 2019 *+●Alicia McCarthy: No Straight Lines February 2 – August 1, 2019 John Waters: Indecent Exposure February 2 – April 28, 2019 Peter Hujar: Speed of Life February 2 – April 28, 2019 *+♦Mickalene Thomas: I Can’t See You Without Me (Visual Arts Residency Award) September 14 –December 30, 2018 *● Inherent Structure May 19 – August 12, 2018 Richard Aldrich Zachary Armstrong Key: * Organized by the Wexner Center ♦ Catalogue published by WCA + New Work Commissions/Residencies ● Gallery Guide Updated July 2, 2020 2 Kevin Beasley Sam Moyer Sam Gilliam Angel Otero Channing Hansen Laura Owens Arturo Herrera Ruth Root Eric N. Mack Thomas Scheibitz Rebecca Morris Amy Sillman Carrie Moyer Stanley Whitney *+●Anita Witek: Clip February 3-May 6, 2018 *●William Kentridge: The Refusal of Time February 3-April 15, 2018 All of Everything: Todd Oldham Fashion February 3-April 15, 2018 Cindy Sherman: Imitation of Life September 16-December 31, 2017 *+●Gray Matters May 20, 2017–July 30 2017 Tauba Auerbach Cristina Iglesias Erin Shirreff Carol Bove Jennie C.
    [Show full text]
  • Stan Douglas Born 1960 in Vancouver
    This document was updated February 25, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Stan Douglas Born 1960 in Vancouver. Lives and works in Vancouver. EDUCATION 1982 Emily Carr College of Art, Vancouver SOLO EXHIBITIONS 2020 Stan Douglas: Doppelgänger, David Zwirner, New York, concurrently on view at Victoria Miro, London 2019 Luanda-Kinshasa by Stan Douglas, Plug In Institute of Contemporary Art, Winnipeg, Canada Stan Douglas: Hors-champs, Western Front, Vancouver Stan Douglas: SPLICING BLOCK, Julia Stoschek Collection (JSC), Berlin [collection display] [catalogue] 2018 Stan Douglas: DCTs and Scenes from the Blackout, David Zwirner, New York Stan Douglas: Le Détroit, Musée d'Art Moderne Grand-Duc Jean (MUDAM), Luxembourg 2017 Stan Douglas, Victoria Miro, London Stan Douglas: Luanda-Kinshasa, Les Champs Libres, Rennes, France 2016 Stan Douglas: Photographs, David Zwirner, New York Stan Douglas: The Secret Agent, David Zwirner, New York Stan Douglas: The Secret Agent, Salzburger Kunstverein, Salzburg [catalogue] Stan Douglas: Luanda-Kinshasa, Pérez Art Museum Miami (PAMM) Stan Douglas: The Secret Agent, Victoria Miro, London Stan Douglas, Hasselblad Center, Gothenburg, Sweden [organized on occasion of the artist receiving the 2016 Hasselblad Foundation International Award in Photography] [catalogue] 2015 Stan Douglas: Interregnum, Museu Coleção Berardo, Lisbon [catalogue] Stan Douglas: Interregnum, Wiels Centre d’Art Contemporain, Brussels [catalogue] 2014 Stan Douglas:
    [Show full text]
  • Artforum 2006
    Artforum Diễn đàn Nghệ thuật 2006 - February 2006 - Tháng 2 Columns Các mục Passages Những bài viết ngắn Hannah Feldman on Raymond Hains Hannah Feldman về Raymond Hains và and Arnan Arnan Justin Spring on Ismail Merchant Justin Spring về Nhà buôn Ismail Books Các sách Yve-Alain Bois on the Russian Avant- Yve-Alain Bois về Người tiên phong Nga garde Phim Film J. Hoberman về Carlos Reygadas J. Hoberman on Carlos Reygadas Tại chỗ On Site Tom Holert về Nghệ thuật Đương đại ở Tom Holert on Contemporary Art in Belgrade Belgrade Tin tức News Caroline A. Jones về Toàn cầu hoá và Caroline A. Jones on Globalism and the Biennale của Venice Venice Biennale Tope Ten Tope Ten Matt Keegan Matt Keegan Features Những đặc san Search Engine: The Art of Michel Động cơ tìm kiếm: Nghệ thuật của Michel Majerus Majerus Daniel Birnbaum Daniel Birnbaum 1000 Words: Catherine Sullivan 1000 Từ: Catherine Sullivan Tim Griffin Tim Griffin The Social Turn: Collaboration and its Xã hội chuyển mình: Hợp tác và sự bất mãn Discontents Claire Bishop Claire Bishop The Films of Guy Debord Những bộ phim của Guy Debord Keith Sanborn and Greil Marcus Keith Sanborn và Greil Marcus Ellective Affinities: The Art of Edgar Những mối quan hệ thân thuộc có chọn lựa: Arceneaux Nghệ thuật của Edgar Arceneaux Jeffrey Kastner Jeffrey Kastner Openings: Matthew Brannon Những sự khởi đầu: Matthew Brannon Jan Tumlir Jan Tumlir Harry Dodge and Stanya Kahn Harry Dodge và Stanya Kahn Rachel Kushner Rachel Kushner Reviews Các phê bình Focus Trọng tâm Briony Fer on “Dada” Briony Fer về “Dada” Carrie
    [Show full text]
  • March-April 1996 CAA News
    5 the mall corridors between the Hynes Techno­ King­ Convention Center and the hotel com­ plexes. Certainly the CAA has, by the sheer logistics of location, established a Seduction Hammond: new relationship between scholarship, professionalism, and fitness. CAA is most appreciative of the outstanding hospital­ President ity offered by the Boston hotels and the Hynes Convention Center. In all, 4,500 people registered for the conference, and n response to the membership another 1,200 purchased session tickets. survey in which members expressed I would like to thank CAA confer­ a desire for more visual art at the hat a great pleasure it was ence coordinator Suzanne Schanzer and I to be in Boston and see so annual conference, the Visual Artists CAA deputy director Jeffrey Larris for many old friends and Committee of the CAA Board of W their unstinting support and attention to colleagues. It was even more exciting to Directors announces the exhibition detail in Boston. A special congratulations meet the rapidly growing numbers of theme for the 85th Annual Conference is in order for CAA executive director new members and make new acquain­ in New York in 1997. Techno-Seduction is Susan Ball, who celebrated her ten-year tances with long-standing members a national juded exhibition open to all anniversary with CAA in Boston (see from institutions all over the U.s. and CAA members, sponsored by the Visual "Board Honors Ball," page 9). Also, I abroad. More interesting, however, are Artists Committee and the Cooper extend hearty thanks to membership the swelling numbers of unaffiliated 5 Union for the Advancement of Science manager Theresa Smythe and her entire members I met who function as and Art.
    [Show full text]
  • Transpositions Familiar to Artists, This Book Shows How Moves Can Be Made Between Established Positions and Completely New Ground
    ORPHEUS New modes of epistemic relationships in artistic research ORPHEUS Research leads to new insights rupturing the existent fabric of knowledge. Situated in the still evolving field of artistic research, this book investigates a fundamental quality of this process. Building on the lessons of deconstruction, artistic research invents new modes of epistemic relationships that include aesthetic dimensions. Under the heading transposition, seventeen artists, musicians, and theorists explain how one thing may turn into another in a spatio- temporal play of identity and difference that has the power to expand into the unknown. By connecting materially concrete positions in a way Transpositions familiar to artists, this book shows how moves can be made between established positions and completely new ground. In doing so, research changes from a process that expands knowledge to one that creatively Aesthetico-Epistemic Operators reinvents it. in Artistic Research Michael Schwab is the founding editor-in-chief of the Journal for Artistic Research (JAR). He is senior researcher of MusicExperiment21 (Orpheus Institute, Ghent) and joint project leader of Transpositions: Artistic Data Exploration (University of Music and Performing Arts Graz; University of Applied Arts Vienna). Transpositions INSTITUTE Edited by Michael Schwab IN ISBN 9789462701410 S TIT U T 9 789462 701410 > E SERIES Transpositions cover final.indd 1 05/07/18 14:38 Transpositions: Aesthetico-Epistemic Operators in Artistic Research TRANSPOSITIONS: AESTHETICO- EPISTEMIC OPERATORS
    [Show full text]