ART 4480 Syllabus
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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. -
Optical Timeline by Tony Oursler
Optical Timeline by Tony Oursler 1 Iris is thought to be derived from the RED Symyaz leads the fallen angels. Archimedes (c. 287212 b.c.) is said to Greek word for speaker or messenger. According to Enoch, they came to earth have used a large magnifying lens or Seth, the Egyptian god most associated of their own free will at Mount Hermon, burning-glass, which focused the suns Fifth century b.c. Chinese philosopher with evil, is depicted in many guises: descending like stars. This description rays, to set fire to Roman ships off Mo Ti, in the first description of the gives rise to the name Lucifer, “giver of Syracuse. camera obscura, refers to the pinhole as a black pig, a tall, double-headed figure light.” “collection place” and “locked treasure with a snout, and a serpent. Sometimes And now there is no longer any “I have seen Satan fall like lightning room.” he is black, a positive color for the difficulty in understanding the images in from heaven.” (Luke 10:1820) Egyptians, symbolic of the deep tones of mirrors and in all smooth and bright Platos Cave depicts the dilemma of fertile river deposits; at other times he is surfaces. The fires from within and from the uneducated in a graphic tableau of red, a negative color reflected by the without communicate about the smooth light and shadow. The shackled masses parched sands that encroach upon the surface, and from one image which is are kept in shadow, unable to move crops. Jeffrey Burton Russell suggests variously refracted. -
The Broad Launches Unprecedented Survey of Groundbreaking Artist Shirin Neshat
Media Contacts Tyler Mahowald | [email protected] Justin Conner | [email protected] Alice Chung | [email protected] THE BROAD LAUNCHES UNPRECEDENTED SURVEY OF GROUNDBREAKING ARTIST SHIRIN NESHAT The Artist’s Largest Survey to Date and First Major Exhibition of Her Work in the Western U.S. Will Be on View October 19, 2019–February 16, 2020 in Los Angeles LOS ANGELES—This fall, The Broad will launch a new survey—the largest held to date—of internationally acclaimed artist Shirin Neshat’s work. The exhibition, Shirin Neshat: I Will Greet the Sun Again, will be on view from October 19, 2019, through February 16, 2020, and is the renowned multidisciplinary artist’s first major exhibition to take place in the western United States. The artist has been in the Broad collection for 20 years, beginning with the 1999 acquisition of Rapture (1999)—the first multiscreen video installation to enter the collection. Originated by The Broad, this exhibition surveys approximately 30 years of Neshat’s dynamic video works and photography, investigating the artist’s passionate engagement with ancient and recent Iranian history, the experience of living in exile and the human impact of political revolution. Taking its title from a poem by Iranian poet Forugh Farrokhzad (1934–67), the exhibition begins with her most famous body of work, Women of Allah (1993–97) and features the global debut of Land of Dreams, a new, multi-faceted project that was completed this past summer in New Mexico, and encompasses two videos and a body of photographs. Arranged chronologically, Shirin Neshat: I Will Greet the Sun Again presents over 230 photographs and eight video installations, including iconic video works such as Rapture, Turbulent (1998) and Passage (2001), journeying from works that address specific events in contemporary Iran, both before and after the Islamic Revolution, to work that increasingly uses metaphor and ancient Persian history and literature to reflect on universal concerns of gender, political borders and rootedness. -
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. -
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. -
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. -
Kino, Carol. “Rebel Form Gains Favor. Fights Ensue.,” the New York Times, March 10, 2010
Kino, Carol. “Rebel Form Gains Favor. Fights Ensue.,” The New York Times, March 10, 2010. By CAROL KINO Published: March 10, 2010 ONE snowy night last month, as New Yorkers rushed home in advance of a coming blizzard, more than a hundred artists, scholars and curators crowded into the boardroom of the Museum of Modern Art to talk about performance art and how it can be preserved and exhibited. The event — the eighth in a series of private Performance Workshops that the museum has mounted in the last two years — would have been even more packed if it weren’t for the weather, said Klaus Biesenbach, one of its hosts and the newly appointed director of the P.S.1 Contemporary Art Center. After seeing the R.S.V.P. list, he had “freaked out,” he said, and worried all day about overflow crowds. As it was, he and his co-host, Jenny Schlenzka, the assistant curator of performance art at the museum, were surrounded at the conference table by a Who’s Who of performance-art history, including Marina Abramovic, the 1970s performance goddess from Belgrade whose retrospective, “The Artist Is Present,” opens Sunday atMoMA; the much younger Tino Sehgal, whose latest show of “constructed situations,” as he terms them, just closed at the Guggenheim Museum; Joan Jonas, a conceptual and video art pioneer of the late 1960s who usually creates installations that mix performance with video, drawing and objects; and Alison Knowles, a founding member of the Fluxus movement who is known for infinitely repeatable events involving communal meals and foodstuffs. -
A Manner of Speaking : an Interview with Gary Hill
AFTERIMAGE/March 1983 9 A MANNER OF SPEAKING AN INTERVIEW WITH GARY HILL thing that really overwhelmed me was a show at the Met GH: I got into sound first. I discovered the sculptures gener- LUCINDA FURLONG called "1940-1970 ." It was the New York School. I was ated interesting sounds, lots of different timbres. The overall knocked out, and went through a lot of different attitudes in texture seemed to mirror what I was seeing. I worked a lot Although he is better known for his videotapes and installa- my own work. I still used the same materials, but I went from with loops and multi-trackaudio tapes, which later became an tions, Gary Hill has also been prolific as a sculptor. Born in making cage-like structures with human forms-almost integral part of the sculpture. Santa Monica, Calif. in 1951, Hill moved east in 1969, and in Bosch-like-to abstract biomorphic shapes mixed with geo- Getting into video isn't so smooth in retrospect. I think atthe the early '70s began making videotapes at Woodstock (N.Y.) metric shapes. Pretty soon it was all geometric. I started time I was getting frustrated with sculpture. I needed a Community Video. Like many artists in the late '60s and early using wire mesh, spray paint, welding armatures for shaped change . I was drawn more and more into working with sound. 70s, Hill's earliest tapes reflected a highly experimental ap- canvases which were incorporated into the work. I would Around thattime, WoodstockCommunityVideo had been es- proach in which the capabilities of various electronic imaging make shapes, pile them into a corner, and then work with tablished. -
Being There Art Assignment 9
ART ASSIGNMENT SHIRIN NESHAT I WILL GREET THE SUN AGAIN In conjunction with Shirin Neshat: I Will Greet the Sun Again, the Modern’s education department and Akin White are pleased to present this Art Assignment packet for high school students and educators. This packet is a supplement to the gallery experience and offers background information on the artist and work, as well as ideas to consider while engaging in the art project. Shirin Neshat was born in Qazvin, Iran, a small city two hours from Tehran, in 1957. Shirin Neshat: I Will Greet the Sun Again surveys approximately 30 years of the artist’s video works and photography, investigating her passionate engagement with ancient and recent Iranian history. The experience of living in exile and the human impact of political revolution are also explored by Neshat. The exhibition takes its title from a poem by the Iranian poet Forugh Farrokhzad (1934–1967). I Will Greet the Sun Again begins with Neshat’s most famous body of work, Women of Allah, 1993–97, and also features her early iconic video works such as Rapture, 1999, Turbulent, 1998, and Passage, 2001. Monumental photography installations include The Book of Kings, 2012, The Home of My Eyes, 2015, and Land of Dreams, 2019, a new, ambitious work encompassing a photographic series and video. The exhibition journeys from works that address specific events in contemporary Iran, both before and after the Islamic Revolution, to works that increasingly use metaphor and ancient Persian history and literature to reflect on universal concerns of gender, political borders, and rootedness. -
A Cross-Media Programme of Public Talks, Presentations, Curators & Critic's Choices, Performances and Installations
''U . c' . ' . adw~d! ar:uus4e, 44y-W-SWUOUIVIL 1'rEIKSWA, JU'CheVlcurator introduction into the p :gramme arsturrn 1 1 .15 THE DELIRIUM OF IMAGES public encounters with Marina Abramovic, Amsterdam Dr. Edith Decker, Video-Skulptur, Kalnischer Kunstverein/Jon Klein, NITV-Europe, London Bill Seaman, artist, Boston/The Vasulkas, artists, Santa Fe1Host : Herbert Wentscher PUBLIC CONVERSATION 2 . G7 RELATIVES performance by Constance DeJong (Nyack, NY) and Tony Oursler (Boston), video A cross-media programme 3.co CLOS of public talks, Wolfg$ng Preikschat, Amsterdam/Frankfurt LIGHTS FROM DATA SPACE curator, critic, and media, theorist an the electronic sign language of artificial intelligence presentations, curators" & t 1 .,1 .3 Wulf erzogenrath, Cologne FROM ANIMATED FILM TO VIDEO-ANIMATION a short history of a t chnical genre by the director of the Kalnischer Kunstverein and curator of the critic's choices, performances, Video Sculpture exhibition in Cologne 1 2 . 30 pm VIDEO~UNCH tapes by Peter Callas, Lyn Blumenthal/C :A. Klonarides, Joan Jonas, Dara and installations Blrnb um, a. a. Petr Vrana, tfassel vi DO I[ Video maker shows tapes and introduces into his ),Vidox-paint box atjimation technique and style 2.1 ',~ George Snow, London THE ARTIST AS ENGINEER British video director talks about his own a,joint project of experience with a new and innovative format and its range between art and design 2-1 r. Bill Seaman, Boston THE BOXER'S PUZZLE Video maker/composer presents his work and ECGTV-Studios Frankfurt speaks about his experience as artist at the Massachusetts Institut of Technology in Boston and ArcheV COFFEE BREAK accompanied by tapes of Alexander Hahn, Ka Nakajima, Volker Anding, a. -
Shirin Neshat March 20 - June 1, 2003 BORN in QAZVIN, IRAN, in 1957, Shirin Neshat Came to the United States at Age 17 to Study Art
Shirin Neshat March 20 - June 1, 2003 BORN IN QAZVIN, IRAN, IN 1957, Shirin Neshat came to the United States at age 17 to study art. In 1983 she received a master of fine arts degree from the University of California at Berkeley, where she majored in painting. After graduating she decided not to pursue a career as an artist instead devoting most of her time to co-directing The Storefront for Art and Architecture, an alternative space in New York. It was not until Neshat was in her 30s — after the first of several visits she made in 1990 to her native Iran — that she began making photographs and subsequently videos. She found the country transformed by the dramatic cultural, Made in collaboration with teams of cinematographers, crew, social and political changes of the Islamic Revolution. The sense and casts of hundreds, Neshat’s installations combine powerful of displacement and exile she felt inspired her to devote her cinematic images with mesmerizing soundtracks by such work to an exploration of the profound differences between contemporary composers as Sussan Deyhim and Philip Glass. the Western culture to which she had become assimilated and Her videos do not rely on plots, characters, or dialogue to tell the Eastern culture in which she was raised. In explaining why a story. Instead, the artist’s mysterious narratives unfold she felt compelled to begin making art again she states, “I had through a combination of richly imaginative and carefully reached a sort of intellectual maturity that I didn’t have before. choreographed scenes, dramatic settings, emotive music, and I also finally reached a subject that I felt really connected to. -
Tony Oursler CV
Tony Oursler Lives and works in New York, NY, USA 1979 BFA, California Institute for the Arts, Valencia, CA, USA 1957 Born in New York, NY, USA Selected Solo Exhibitions 2021 ‘Tony Oursler: Black Box’, Kaohsiung Museum of Fine Arts, Kaohsiung City, Taiwan 2020 ‘Hypnose’, Musée d’arts de Nantes, Nantes, France Lisson Gallery, East Hampton, NY, USA 2019 ‘电流 (Current)’, Nanjing Eye Pedestrian Bridge, Nanjing, China ‘Tony Oursler: Water Memory’, Guild Hall, East Hampton, NY, USA ‘The Volcano & Poetics Tattoo’, Dep Art Gallery, Milan, Italy 2018 ‘predictive empath’, Baldwin Gallery, Aspen, CO, USA ‘Tear of the Cloud’, Public Art Fund, Riverside Park South, New York, NY, USA ‘TC: the most interesting man alive’, Lisson Gallery, New York, NY, USA 2017 ‘Paranormal: Tony Oursler vs. Gustavo Rol’, Pinacoteca Giovanni e Marella Agnelli, Turin, Italy ‘Sound Digressions: Spectrum’, Galerie Mitterand, Paris, France ‘Tony Oursler: b0t / flOw - ch@rt’, Galerie Forsblom, Stockholm, Sweden ‘Tony Oursler: L7-L5 / Imponderable’, CaixaForum, Barcelona, Spain ‘Unidentified’, Redling Fine Art, Los Angeles, CA, USA 2016 ‘Tony Oursler: The Influence Machine’, University of Edinburgh, Edinburgh, United Kingdom ‘A*gR_3’, Galería Moisés Pérez De Albéniz, Madrid ‘M*r>0r’, Magasin III Museum & Foundation for Contemporary Art, Stockholm, Sweden ‘Tony Oursler: The Imponderable Archive’ Hessel Museum of Art, Bard College, Annandale-On-Hudson, NY, USA ‘Imponderable’, Museum of Modern Art, New York, NY, USA ‘TC: The Most Interesting Man Alive’ Chrysler Museum, Norfolk,