DOCSLIB.ORG

History of Video Art 2015

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Paper tiger http://www.ubu.com/film/ http://en.wikipedia.org/wiki/Video_art http://flavorwire.com/399191/50-great-works-of-video-art- that-you-can-watch-online/ History of Video art • Early cinema history • Sony PortaPak artists http:// en.wikipedia.org/wiki/Portapak Vito Acconci, John Baldessari, Peter Campus, Doris Totten Chase, Norman Cowie, Dan Graham, Joan Jonas, Bruce Nauman, Nam June Paik, Martha Rosler, William Wegman, Cinema Verite The loud family ubu film • http://www.ubu.com/film/index.html La Jetee http://www.hulu.com/watch/215917/la-jetée Sony Portapak Bruce NAuman • http://www.ubu.com/film/nauman.html Manipulating the T bar http://www.ubu.com/film/nauman_t.html http://www.ubu.com/film/nauman_beckett.html Slow Angle Walk (Beckett Walk) (1968) 1968, 60 min, b&w, sound A fixed camera turned on its side records Nauman repeating for nearly an hour a laborious sequence of body movements inspired by passages in works by Samuel Beckett that describe similarly repetitive and meaningless activities. Hands clasped behind his back, he kicks one leg up at a right angle to his body, pivots forty-five degrees, falls forward hard with a thumping noise, extends the rear leg again at a right angle behind, and begins the sequence again. As in many of his fixed-camera film and video works, parts of Nauman's body disappear from the frame as he moves close to the camera; occasionally, he walks off-screen completely while the sound of his footsteps continues on the sound tracks. -- EAI Chris Burden https://www.youtube.com/watch?v=JE5u3ThYyl4 Chris Burden, Porsche with meteorite, 2013, “Chris Burden: Extreme Measures”, New Museum, New York Chris Burden’s Big Wheel Motorcycle Makes Some Noise at the New Museum Chris Burden, All the Submarines of the United States of America, 1987. 625 miniature cardboard submarines. Installed: 8 × 20 × 12 ft (2.4 × 6.1 × 3.6 m). Yoko Ono Cut piece http://dai.ly/a2fvd1 the artist creates a forum for subjects/participants to determine the outcome. Nam Jun Paik http://www.ubu.com/film/paik.html Nam Jun Paik Laurie Anderson ART 21 http://www.pbs.org/art21/artists/laurie-anderson U B U W E B - Film & Video: Laurie Anderson Iconic video and mesmeric song, with 1242 beats of the word "Ha" from beginning to end, created by looping with an Eventide Harmonizer. Released in April 1982, it was the first single from Laurie Anderson's debut album "Big Science". https://www.youtube.com/watch?v=QH2x5pARGdE Baldessari http://www.eai.org/artistTitles.htm?id=356 http://www.ubu.com/film/baldessari.html John Baldessari John Baldessari has been termed "one of the most influential artists to emerge since the mid-1960s." From his phototext canvases to his composite photo collages and installations, Baldessari's works have contributed to the definition of postmodern art. In the early 1970s, he produced droll conceptual video works that are ironic investigations into perception, meaning and interpretation, rendered with deadpan, often absurdist humor. Six Colorfull Inside Jobs John Baldessari 1977 https://www.youtube.com/watch?v=cbdD08bjeoY Jason Schwartzman meets baldessari http://www.youtube.com/watch?v=11gO3C-gDSE Wegman Shorts Wegman Deoderant Dogs and ballhttp://www.youtube.com/watch? v=mxsypEOXpik&feature=related Stomach song http://www.youtube.com/watch? v=7bOym_kkvaE&feature=related Kiss http://www.youtube.com/watch? v=kiDw2Igua8Q&feature=related http://www.colbertnation.com/the-colbert-report-videos/ 368132/december-09-2010/art-stephen-up-challenge--- william-wegman Wegman Chair Wegman Stick Finger Sam Taylor Wood http://www.ubu.com/film/tw_brontosaurus.html Sam Taylor Wood http://www.ubu.com/film/tw_brontosaurus.html http://www.ubu.com/film/tw.html Gillian Wearing The short video projection 2 into 1 (1997) features a mother and her two sons, one generation lip-synching the dubbed words of the other. It is hypnotically disturbing to watch a pair of 10-year-old twins take turns speaking their mother's exasperated love for them. "I think Lawrence is absolutely adorable, he's gorgeous, I love every inch of him," Lawrence says, in a slightly raspy woman's voice. "But he's got a terrible temper." https://www.youtube.com/watch?v=36WUgFMDY-M http://en.wikipedia.org/wiki/Gillian_Wearing Gillian Wearing Dancing in Peckham http://www.theguardian.com/artanddesign/video/2012/mar/26/gillian-wearing-dancing-peckham-video Gillian Wearing Gillian Wearing: her performance where she dances in Peckham, a London mall. She does not dance to any music other than the music in her head; she is Self Portrait at 17 Years Old, 2003 not listening to a Walkman or CD player or any exterior music. Gillian Wearing, adopts her family members identity and they way they perceive to her. Self-Portrait as my Mother, Jean Gregory, 2003 ©Gillian Wearing, Courtesy Maureen Paley, London Self Portrait at Three Years Old. Wearing’s work captures the complexity of human relationships, and draws inspiration from reality television and confession-style programs, where every-day people reveal their most intimate thoughts and experiences. Some works focus on individuals whose emotional and psychological behaviour has been stretched to the limit, others show people at their most mundane, sharing minor hopes and fears as if admitting secrets to a friend. Gillian Wearing is a British artist and Turner Prize winner. Gillian Wearing, Signs that say what you want them to say and not Signs that say what someone else wants you to say, 1992-3, c-type print mounted on aluminium, 41.9 x 30.5cm signs that say what you want them to say Douglas Gordan Much of Gordon's work is seen as being about memory and uses repetition in various forms. He uses material from the public realm and also creates performance-based videos. His work often overturns traditional uses of video by playing with time elements and employing multiple monitors.[3] Play Dead; Real Time Elephant https://www.youtube.com/watch?v=Q-XD6fuf0ho One of his best-known art works is 24 Hour Psycho (1993) which slows down Alfred Hitchcock's film Psycho so that it lasts twenty four hours.[4] 24 Hour Psycho Douglas Gordon in his own words: The exhibition begins with 24 Hour "24 Hour Psycho, as I see it, is not simply Psycho (1993), a slowed-down a work of appropriation. It is more like an version of Alfred Hitchcock's 1960 act of affiliation... it wasn't a film Psycho. A different take on a straightforward case of abduction. The familiar classic, it introduces many original work is a masterpiece in its own of the important themes in Gordon's right, and I've always loved to watch work: recognition and repetition, it. ... I wanted to maintain the authorship time and memory, complicity and of Hitchcock so that when an audience duplicity, authorship and would see my 24 Hour Psycho they authenticity, darkness and light. would think much more about Hitchcock and much less, or not at all, about me... Douglas Gordon - Wikipedia, the free encyclopedia 24 Hour Psycho is the title of an art installation created by artist Douglas Gordon in 1993. The work consists entirely of an appropriation of Alfred Hitchcock's 1960 Psycho slowed down to approximately two frames a second, rather than the usual 24. As a result it lasts for exactly 24 hours, rather than the original 109 minutes.[1] The film was an important work in Gordon's early career, and is said to introduce themes common to his work, such as "recognition and repetition, time and memory, complicity and duplicity, authorship and authenticity, darkness and light." https://www.youtube.com/watch?v=UtLg5TqqVeA Similar in appearance, but quite different in its effect, is Through a Looking Glass (1999), in which two screens, placed face to face, projecting repeatedly a one-minute-or-so fragment from the film Taxi driver , by Martin Scorsese with Robert de Niro (yeah, the famous you talkin' to me? scene) In this one, the spectator does not interact with the work, but, placed between both screens, seems to be placed in the middle of a shooting, being the next victim of Travis Bickle's paranoia. Personally, I think that this work, apparently simple or even tricky , is, with its smart use of the space and dimensions, and the aggressive of its effect, one of the best works by Gordon. Monster Reborn 1996 / 2002 Gordon uses doubles and opposites in his work to question ideas about good and evil, positive and negative, male and female. As a Scottish artist, he often uses his own image to explore the ‘dual’ identity of Scottish culture, as exemplified in Robert Louis Stevenson’s novel ‘The Strange Case of Dr Jekyll and Mr Hyde’. This work is a double self-portrait, and is the same photograph used in the artist’s 1996 work ‘Monster’, except here the image is reversed so that the distorted face is on the left instead of the right. Gordon has used sticky tape to distort his face, making him virtually unrecognisable from the sober-looking man on the right. The viewer is thus prompted to wonder if both states can co-exist in one body, and who came first, the monster or the artist? Douglas Gordon List of Names (Random) 1990 - ongoing This work consists of a list of names, displayed in columns, as if it were a war memorial or a roll of honour. They are the names of everyone the artist has ever met, or more precisely, everyone he can remember meeting. Gordon says of this work, 'It was an accurate and honest statement but it was full of mistakes (like forgetting the names of some friends), so there were some embarrassing elements in the work, but that all seemed to be quite close to the truth of how our head functions anyway.
Recommended publications
  • Translation in the Work of Omer Fast Kelli Bodle Louisiana State University and Agricultural and Mechanical College

    Translation in the Work of Omer Fast Kelli Bodle Louisiana State University and Agricultural and Mechanical College

    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2007 (Mis)translation in the work of Omer Fast Kelli Bodle Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Bodle, Kelli, "(Mis)translation in the work of Omer Fast" (2007). LSU Master's Theses. 4069. https://digitalcommons.lsu.edu/gradschool_theses/4069 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. (MIS)TRANSLATION IN THE WORK OF OMER FAST A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The School of Art by Kelli Bodle B.A., Michigan State University, 2002 August 2007 Table of Contents Abstract……...……………………………………………………………………………iii Chapter 1 Documentary and Alienation: Why Omer Fast’s Style Choice and Technique Aid Him in the Creation of a Critical Audience……………………………… 1 2 Postmodern Theory: What Aspects Does Fast Use to Engage Audiences and How Are They Revealed in His Work……………………………………….13 3 Omer Fast as Part of a Media Critique……………………….………………31 4 Artists and Ethics……………….……………………………………………39 5 (Dis)Appearance of Ethics in Omer Fast’s Videos..…………………………53 Bibliography……………………………………………………………………………..64 Vita...……………………………………………………………………………………..69 ii Abstract For the majority of people, video art does not have a major impact on their daily lives.
  • Press Release

    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.
  • Douglas Gordon

    Douglas Gordon

    G A G O S I A N G A L L E R Y Douglas Gordon: portrait of the evolving artist With his sublime new film installation, k.364, Douglas Gordon breaks down the boundaries between video art and portraiture Memorable journey ... Douglas Gordon's k.364, at the Gagosian Gallery, follows two musicians travelling to Warsaw. Photograph: Mike Bruce By Jonathan Jones, 7 March 2011 Douglas Gordon is as profound, serious, imaginative and stylistically bold as anyone could wish an artist to be. He has matured in richer, more surprising ways than any of his contemporaries. He is the best British artist of my generation and I am glad his sublime exhibition now on at London's Gagosian Gallery gives me an opportunity to say so. The powerful qualities of Gordon's art grip you right at the start of this exhibition in a photograph of an arm holding a candle. The candle is lit and has been burning for some time, dripping great grotesque dollops of wax. With a shock, you observe how the hot wax has flowed in rivulets that 6 – 2 4 B R I T A N N I A S T R E E T L O N D O N W C 1 X 9 J D T . 0 2 0 . 7 2 9 2 . 8 2 2 2 F . 0 2 0 . 7 2 9 2 . 8 2 2 0 L O N D O N @ G A G O S I A N . C O M W W W . G A G O S I A N .
  • Michael Landy Born in London, 1963 Lives and Works in London, UK

    Michael Landy Born in London, 1963 Lives and Works in London, UK

    Michael Landy Born in London, 1963 Lives and works in London, UK Goldsmith's College, London, UK, 1988 Solo Exhibitions 2017 Michael Landy: Breaking News-Athens, Diplarios School presented by NEON, Athens, Greece 2016 Out Of Order, Tinguely Museum, Basel, Switzerland (Cat.) 2015 Breaking News, Michael Landy Studio, London, UK Breaking News, Galerie Sabine Knust, Munich, Germany 2014 Saints Alive, Antiguo Colegio de San Ildefonso, Mexico City, Mexico 2013 20 Years of Pressing Hard, Thomas Dane Gallery, London, UK Saints Alive, National Gallery, London, UK (Cat.) Michael Landy: Four Walls, Whitworth Art Gallery, Manchester, UK 2011 Acts of Kindness, Kaldor Public Art Projects, Sydney, Australia Acts of Kindness, Art on the Underground, London, UK Art World Portraits, National Portrait Gallery, London, UK 2010 Art Bin, South London Gallery, London, UK 2009 Theatre of Junk, Galerie Nathalie Obadia, Paris, France 2008 Thomas Dane Gallery, London, UK In your face, Galerie Paul Andriesse, Amsterdam, The Netherlands Three-piece, Galerie Sabine Knust, Munich, Germany 2007 Man in Oxford is Auto-destructive, Sherman Galleries, Sydney, Australia (Cat.) H.2.N.Y, Alexander and Bonin, New York, USA (Cat.) 2004 Welcome To My World-built with you in mind, Thomas Dane Gallery, London, UK Semi-detached, Tate Britain, London, UK (Cat.) 2003 Nourishment, Sabine Knust/Maximilianverlag, Munich, Germany 2002 Nourishment, Maureen Paley/Interim Art, London, UK 2001 Break Down, C&A Store, Marble Arch, Artangel Commission, London, UK (Cat.) 2000 Handjobs (with Gillian
  • Cómo Citar El Artículo Número Completo Más Información Del

    Cómo Citar El Artículo Número Completo Más Información Del

    Revista de Estudios de la Administración Local y Autonómica ISSN: 1989-8975 Instituto Nacional de Administración Pública (INAP) Forte, Pierpaolo Breves consideraciones sobre la adquisición de obras de arte en la regulación europea de los contratos públicos Revista de Estudios de la Administración Local y Autonómica, núm. 8, 2017, Noviembre-Abril, pp. 97-115 Instituto Nacional de Administración Pública (INAP) DOI: 10.24965/reala.v0i8.10436 Disponible en: http://www.redalyc.org/articulo.oa?id=576462577005 Cómo citar el artículo Número completo Sistema de Información Científica Redalyc Más información del artículo Red de Revistas Científicas de América Latina y el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto Recibido: 22-06-2017 Aceptado: 09-10-2017 DOI: 10.24965/reala.v0i8.10436 Breves consideraciones sobre la adquisición de obras de arte en la regulación europea de los contratos públicos Brief considerations on the acquisition of works of art in the European regulation of public contracts Pierpaolo Forte Università degli studi del Sannio [email protected] RESUMEN La obra, renunciando a una definición precisa de arte, reconoce que hay objetos de arte y objetos culturales, que, propiamente en esa capacidad, son relevantes también en términos legales, y trata de avanzar algunas reflexiones sobre la relevancia del arte en relación con la disciplina europea de contratos públicos y, en particular, con lo que puede deducirse de la Directiva 2014/24/UE, que puede entenderse como una especie de signo cultural capaz de ofrecer indicaciones sobre cómo se percibe el arte en Europa, también en términos políticos, en esta fase histórica.
  • Bruce Nauman

    Bruce Nauman

    BRUCE NAUMAN “The true artist helps the world by revealing mystic truths.” -Bruce Nauman Biography BRUCE NAUMAN Video > Make Me Think Me Nauman studied mathematics and physics at the University of Wisconsin-Madison, and art with William T. Wiley and Robert Arneson at the University of California in Davis. He worked as an assistant to Wayne Thiebaud and in 1966 he became a teacher at the San Francisco Art Institute. In 1968 he met the singer and performance artist Meredith Monk and signed with the dealer Leo Castelli. In the 1980s he moved to New Mexico. Much of his work is characterised by an interest in language which often manifests itself in a playful, mischievous manner. For example, the neon Run From Fear- Fun From Rear, or the photograph Bound To Fail which literalises the title phrase and shows the artist's arms tied behind his back. There are however, very serious concerns at the heart of the work. Nauman seems to be interested in the nature of communication and the inherent problems of language, as well as the role of the artist as supposed communicator and manipulator of visual language. In 1999 he received the Golden Lion of the Venice Biennale. In 2004 he created his work Raw Materials at Tate Modern. Nauman cites Samuel Beckett, Ludwig Wittgenstein, John Cage, Philip Glass, La Monte Young and Meredith Monk as major influences on his work. Biography Born Fort Wayne, Indiana, 1941 EDUCATION 1964 B.S. University of Wisconsin, Madison (mathmatics & physics) 1966 M.F.A. University of California, Davis 1966-68 Taught at San Francisco Art Institute, San Francisco 1970 Taught at University of California, Irvine HONORS/AWARDS 1968 NEA Grant, Artistic Fellowship Award, Washington, D.
  • Bruce Nauman:Make Me Think Me Educators’ Pack

    Bruce Nauman:Make Me Think Me Educators’ Pack

    Bruce Nauman:Make Me Think Me Educators’ Pack Make Me Think Me Central to Nauman’s work is his exploration of art’s potential as a means to investigate the human condition. Make Me Think Me focuses on this aspect of Nauman’s work, and is divided into two parts. Part One examines the artist’s preoccupation with language. It includes photographs, neon works, sound pieces, sculptures and works on paper that incorporate wordplay. Nauman tests language to the point where it breaks down as a means of communication and becomes a mere pattern or sound. Raw-War, 1971 Part Two explores his engagement with the body and its use as a symbol. The subject shifts from the artist’s own body to that of clowns, actors and also to the viewer. Confronted with “What to do”, alone in his studio following graduation, Nauman came to the conclusion that if he is an artist then everything he does in his studio is art. He recorded himself performing simple, mundane tasks such as applying make-up, pulling faces, bouncing a ball and walking around a square in order to investigate human behaviour, the actions being emblematic of the wider human condition. Works such as Corridor Installation (Nick Wilder Installation) 1971 and Double Steel Cage Piece 1974 allow him to examine audience reaction and response. The viewer unwittingly becomes performer on entering these works, but movement is always predetermined and controlled by the artist. The exhibition culminates with a selection of Nauman’s animal and head casts. The interchanging of body parts in these sculptures can be read symbolically or metonymically, recalling the chopping and changing of words and phrases at the beginning of the exhibition.
  • A Dissertation Submitted to the Faculty of Humanities And

    A Dissertation Submitted to the Faculty of Humanities And

    Temporality and the Evocation of Fear and Unease in Selected Video Installations Patricia Driscoll A dissertation submitted to the Faculty of Humanities and Social Sciences, University of Witwatersrand, Johannesburg, in partial fulfillment of the requirements for the degree of Masters of Arts in Fine Arts by Dissertation. Johannesburg, 2012 Declaration: I declare that this dissertation is my own unaided work. It is submitted for the degree of Master of Arts in Fine Arts in the University of the Witwatersrand, Johannesburg. It has not been submitted before for any other degree or examination in any other university. _________________________ Patricia Driscoll __________ day of _________, 2012 ii Abstract: In this research I explore the evocation of fear and unease in selected video installations and how time impacts upon such evocation. For this purpose I consider the works of selected contemporary artists who deal directly with a form of time-based hyper-awareness linked to the experience of trauma, fear and panic. Amongst others, I discuss selected video artworks by Douglas Gordon, Ed Atkins, and South African artists William Kentridge, Kendell Geers and Berni Searle. I examine how such artworks engage with the expansion and collapse of time and experiences of being stuck or being absorbed in a significant moment. In undertaking this research I closely examine the mediums of film and video as well as contexts and the installation formats in which they are presented. I explore similar aspects of evoking unease in my own video installation titled Night-light and the supporting video work submitted for this degree. My previous creative experience has been in still photography in which I had become interested in exploring the capturing of time and movement and imparting an immersive temporal dimension or an extended moment in time in the still image.
  • Henry Moore Grants Awarded 2016-17

    Henry Moore Grants Awarded 2016-17

    Grants awarded 2016-17 Funding given by Henry Moore Grants 1 April 2016 – 31 March 2017 New projects Pallant House Gallery, Chichester, Exhibition: The Mythic Method: Classicism in British Art 1920-1950, 22 October 2016-19 February 2017 - £5,000 Fundação Bienal de São Paulo, Exhibition: Heather Phillipson and Ruth Ewan's participation in 32nd Bienal de São Paulo - Live Uncertainty, 7 September-11 December 2016 - £10,000 Serpentine Gallery, London, Exhibition: Helen Marten: Drunk Brown House, 29 September-20 November 2016 - £7,000 Auto Italia South East, London, Exhibition: Feral Kin, 2 March-9 April 2017- £2,000 Art House Foundation, London, Exhibition: Alison Wilding Arena Redux, 10 June-9 July 2016 - £5,000 Parasol Unit Foundation for Contemporary Art, London, Exhibition: Robert Therrien: Works 1975- 1995, 2 October-11 December 2016 - £5,000 South London Gallery, Exhibition: Roman Ondak: The Source of Art is in the Life of a People, 29 September 2016-6 January 2017 - £7,000 York Art Gallery (York Museums Trust), Exhibition: Flesh, 23 September 2016-19 March 2017 - £6,000 Foreground, Frome, Commissions: Primary Capital Programme: Phase 1, 8 September 2016-31 January 2017 - £6,000 Barbican Centre Trust, London, Exhibition at The Curve: Bedwyr Williams: The Gulch, 29 September 2016-8 January 2017- £10,000 Glasgow Sculpture Studios, Exhibition: Zofia Kulik: Instead of Sculpture, 1 October-3 December 2016 - £5,000 Tramway, Glasgow: Exhibition/Commission: Claire Barclay: Yield Point, 10 February-9 April 2017 - £3,000 Nasher Sculpture Center,
  • FOR IMMEDIATE RELEASE Barbara T. Smith the 21St Century Odyssey April 13

    FOR IMMEDIATE RELEASE Barbara T. Smith the 21St Century Odyssey April 13

    805 Traction Avenue Los Angeles CA 90013 213.625.1747 www.theboxla.com FOR IMMEDIATE RELEASE Barbara T. Smith The 21st Century Odyssey April 13 – May 25, 2019 Opening Reception: Saturday April 13, 6PM – 8PM Screenings: Saturday, April 20 & Saturday, May 18 Panel with the artist: Saturday, May 11 For The Box’s fifth solo exhibition of Barbara T. Smith’s work, the focus will be on The 21st Century Odyssey, a two year-long durational performance that took place from September 26, 1991 to September 26, 1993. These dates correlate with the opening and the closing of Biosphere 2, located near Tucson, Arizona, where her partner at the time, Dr. Roy Walford, was the interred physician. Smith took on the role of Homer’s Odysseus and traveled the world while Walford, confined inside the Biosphere 2 facility along with 7 other “Biospherians” for 2 years, was Penelope. For Smith, this work was an endeavor to attain a global consciousness while maintaining the connection between Biosphere 1 (the earth) and Biosphere 2. “I was holding Bio 2 in my heart and connecting, of course, with Roy as a vehicle of that connection.” As part of this work, Smith traveled extensively internationally and domestically and considered every aspect of her life in this two year period, from the exotic to the banal, as part of the performance. In Homer’s The Odyssey, Odysseus struggles for ten years to get home to Ithaca after his battles in the Trojan War. Between 1992 and 1993, Smith traveled to India, Nepal, Thailand, Australia, United Kingdom, Germany, and Norway; within the U.S., she went to Northern California, Hawaii and Seattle.
  • Crossing Into Eighties Overview 2012

    Crossing Into Eighties Overview 2012

    Crown Point Press Newsletter June 2012 The waterfall on Ponape, clockwise from front: Dorothy Wiley, Marina Abramovic, Joan Jonas, Daniel Buren, Chris Burden, and Mary Corse, 1980. Tom Marioni had named the conference “Word of Mouth” VISION #4. Twelve artists each gave a twelve-minute talk. Since LP records lasted twenty-four minutes, he had specified twelve-minute talks so we could put two on a side. Later we presented three records in a box. The records are white—“because it felt like we were landing from a flying saucer when we got off the plane in Ponape,” Tom remembers. The plane circled over what looked like a green dot in a blue sea, and we landed abruptly on a short white runway made of crushed coral with a great green rocky cliff at one end and the sea at the other. Against the cliff was a new low building. Shirtless workers in jeans hustled our bags from the plane into a big square hole in the building’s side, visibly pushing them onto a moving carousel. A man in a grass skirt and an inspector’s cap hustled us inside to claim them. The airport building was full of people, many in grass skirts, some (men and women) topless. CrOSSINg INTO THE EIgHTIES They clapped and whistled as we filed past. We learned later Escape Now and Again that word had circulated that we were an American rock group. In front of the airport was a flatbed truck with fourteen An excerpt from a memoir in progress by Kathan Brown white wicker chairs from the hotel dining room strapped On January 15, 1980, thirty-five artists and other art people, on the bed in two facing rows.
  • Gillian Wearing 28 March – 17 June 2012, Galleries 1, 8 & Victor Petitgas Gallery (Gallery 9)

    Gillian Wearing 28 March – 17 June 2012, Galleries 1, 8 & Victor Petitgas Gallery (Gallery 9)

    Gillian Wearing 28 March – 17 June 2012, Galleries 1, 8 & Victor Petitgas Gallery (Gallery 9) The Whitechapel Gallery presents the first major international survey of Turner Prize-winning British artist Gillian Wearing’s photographs and films which explore the public and private lives of ordinary people. Fascinated by how people present themselves in front of the camera in fly- on-the-wall documentaries and reality TV, Gillian Wearing explores ideas of personal identity through often masking her subjects and using theatre’s staging techniques. This major exhibition surveys Wearing’s work from the early photographs Signs that Say What You Want Them to Say and Not Signs that Say What Someone Else Wants You to Say (1992–3) to her latest video Bully (2010) and also includes several new photographs made specially for the Whitechapel Gallery exhibition. Visitors to the exhibition enter a film set-style installation showcasing photographs and films in ‘front and back stage’ areas. Highlights include a striking photograph of the artist posing as her younger self, Self-Portrait at 17 Years Old (2003), Dancing in Peckham (1994), a film which blurs the boundaries between public space and private expression as Wearing dances in the middle of a shopping mall, and the UK premiere of recent film Bully (2010). New photographic works shown for the first time include two portraits of Wearing as artists August Sander and Claude Cahun as part of her ongoing series of iconic photographers, as well as still lives of flowers, looking back to th the rich symbolism of the great age of 17 century Dutch painting.