Moving Image Artists

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Time Based Artists Drawing Animation William Kentridge - Stereoscope Blu - Muto Len Lye (NZ) - Tusalava Kseniya Simonova - Sand Animation Hector Projector – Its Art Amy Kravitz – River Letthe Michel Gagne – Twisted Shadow Puppets Alexander Alexeieff and Claire Parker- La Nez Leopold Survage - Coloured Rhythms Oskar Fischinger – Mephisto Waltz Norman McLaren - Boogie Doodle Joanna Priestley – Voices Gary Bardin – Adagio Stan Brakhage – Garden of Earthly Delights Ed Emshwiller – Sunstone Steven Subotnick - West The Quay Brothers – The Calligrapher Paul Glabicki – Object Conversation Performance Alan Kaprow – Happening Joan Jonas – Glass Puzzle Carolee Schneemann -Eye Body: 36 Transformative Joseph Beuys – Action Piece Actions Yves Klein – Anthropométries de l'époque bleue, Chris Burden – Trans-fixed Ana Mendieta – Blood Sign #1 Marina Abramovic – Artist in The Present Gorilla Girls – March for Women’s Lives Jim Allen (NZ) – Contact Bill Viola – The Crossing Ene Liis Semper – Oaas Edward and Johann (NZ) – Paddies Attic Zhang Huan – Family Tree György Galántai –Foot Wear Vanessa Beecroft – VB35 Monali Meher – In Determination Eleanor Antin - Plaisir d'Amour (after Couture) Nick Cave – Sound Suits Le Wei – Ahead 1 Video Digital Carolee Schneemann - Cycladic Imprints Nam June Paik – Ommah Peter Campus – Interface Tracey Moffatt - Night Cries: A Rural Tragedy Luke Duncalfe (NZ) Jacuard Loom Panels Pipilotti Rist – Ever is Over All Harriet Stockman (NZ) – Final Gag Chris Braddock (NZ) The Artist Will Be Present Diana Thater – Butterflies Feng Mengbo – Long March: Restart Sam Taylor-Wood – A Little Death Doug Aitken – Sleepwalkers Yang Fudong – Seven Intellectual in a Bamboo Hubbard / Bircher – House with Pool Forest Rachel Rakena Brett Graham (NZ)– Aniwaniwa Rafael Lozano-Hemmer – Blow Up Darren Almond - Traction Kinetic and Time Based Len Lye - Zebra Alexander Calder – Enseign de lun László Moholy-Nagy – Kinetic Sculpture Jean Tinguely – Meta-Matic Phil Dadson (NZ) – Akau Tangi Art + Com – Installation BMW Museum OK Go – This Too Shall Pass Peter Fischli and David Weiss – The way things go Nemo Gould – Giant Suid Theo Jansen - Strandbeest Ned Kahn – Glacial Façade Julio Le Parc – Lumiere en Vibration George Rickey – Double L Arthur Gunson – Doll Jesús Rafael Soto - Penetratble The Trons In addition, a list of freeware or open source software is available from: softwareforlearning.tki.org.nz .

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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.
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The Role of Art in Enterprise
Report from the EU H2020 Research and Innovation Project Artsformation: Mobilising the Arts for an Inclusive Digital Transformation The Role of Art in Enterprise Tom O’Dea, Ana Alacovska, and Christian Fieseler This project has received funding from the European Union’s Horizon 2020 research and innovation programme under grant agreement No 870726. Report of the EU H2020 Research Project Artsformation: Mobilising the Arts for an Inclusive Digital Transformation State-of-the-art literature review on the role of Art in enterprise Tom O’Dea1, Ana Alacovska2, and Christian Fieseler3 1 Trinity College, Dublin 2 Copenhagen Business School 3 BI Norwegian Business School This project has received funding from the European Union's Horizon 2020 research and innovation programme under grant agreement No. 870726 Suggested citation: O’Dea, T., Alacovska, A., and Fieseler, C. (2020). The Role of Art in Enterprise. Artsformation Report Series, available at: (SSRN) https://papers.ssrn.com/sol3/papers.cfm?abstract_id=3716274 About Artsformation: Artsformation is a Horizon 2020 Research and Innovation project that explores the intersection between arts, society and technology Arts- formation aims to understand, analyse, and promote the ways in which the arts can reinforce the social, cultural, economic, and political benefits of the digital transformation. Artsformation strives to support and be part of the process of making our communities resilient and adaptive in the 4th Industrial Revolution through research, innovation and applied artistic practice. To this end, the project organizes arts exhibitions, host artist assemblies, creates new artistic methods to impact the digital transformation positively and reviews the scholarly and practi- cal state of the arts.
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Paul Robeson Galleries
Paul Robeson Galleries Exhibitions 1979 Green Magic April 9 – June 29, 1979 An exhibition consisting of two parts: Green Magic I and Green Magic II. Green Magic I displayed useful plants of northern New Jersey, including history, properties, and myths. Green Magic II displayed plant forms in art of the ‘70’s. Includes the work of Carolyn Brady, Brad Davis, Jim Dine, Tina Girouard, George Green, Hanna Kay, Bob Kushner, Ree Morton, Joseph Raffael, Ned Smyth, Pat Steir, George Sugarman, Fumio Yoshimura, and Barbara Zucker. Senior Thesis Exhibition May 7 – June 1, 1979 An annual exhibition of work by graduating Fine Arts seniors from Rutgers – Newark. Includes the work of Hugo Bastidas, Connie Bower, K. Stacey Clarke, Joseph Clarke, Stephen Delceg, Rose Mary Gonnella, Jean Hom, John Johnstone, Mathilda Munier, Susan Rothauser, Michael Rizzo, Ulana Salewycz, Carol Somers Kathryn M. Walsh. Jazz Images June 19 – September 14, 1979 An exhibition displaying the work of black photographers photographing jazz. The show focused on the Institute of Jazz Studies of Rutgers University and contemporary black photographers who use jazz musicians and their environment as subject matter. The aim of the exhibition was to emphasize the importance of jazz as a serious art form and to familiarize the general public with the Jazz Institute. The black photographers whose work was exhibited were chosen because their compositions specifically reflect personal interpretations of the jazz idiom. Includes the work of Anthony Barboza, Rahman Batin, Leroy Henderson, Milt Hinton, and Chuck Stewart. Paul Robeson Campus Center Rutgers – The State University of New Jersey 350 Dr. Martin Luther King, Jr.
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Bailly 1 Invisible Culture Issue 11, Fall 2007 Artist-Curators and Art Historian-Curators at the Edge
Bailly 1 Artist-Curators and Art Historian-Curators at the Edge: How the “Modern West” Revealed Boundaries of Curatorial Practice Austen Barron Bailly This paper takes as it starting point two related projects: The Modern West: American Landscapes, 1890-1950 (October 2006-June 2007) and “Two Edges” (April 12, 2007). The Modern West was a major exhibition curated for Museum of Fine Arts, Houston (MFAH) by Emily Ballew Neff, Curator, American Painting and Sculpture, and it traveled to the Los Angeles County Museum of Art (LACMA).1 “Two Edges” was a virtual exhibition (never mounted) curated by artist Diana Thater for her participation, with LACMA Director Michael Govan, in the museum’s “Conversations with the Director” series, part of the suite of free public programming associated with the presentation of The Modern West at LACMA. Thater’s alternative “modern west” exhibition, created using “Virtual Gallerie” software and PowerPoint and presented digitally in a verbal “walk through,” was fully realized conceptually and functioned as a critique of Neff’s The Modern West, which she believed perpetuated and celebrated the mythology of the American West. Austen Barron Bailly, author of this paper, coordinated and installed The Modern West in Los Angeles and attended Thater’s presentation. As coordinating curator, I was responsible not only for deciding how to install the exhibition for LACMA but also for working with the museum’s Education Department to help develop all public programming for the exhibition—with one notable exception: Thater and Govan’s presentation. I was not involved, nor was I expected to be, in preparations for the I would like to thank Rita Gonzalez, Assistant Curator, LACMA, for encouraging me to write this paper.
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A One Day Exhibition
New Video at EAI: A One Day Exhibition New Video at EAI: A One Day Exhibition Saturday, September 8, 2001 12 - 6 pm, 535 West 22 Street, 5th floor New Video at EAI is presented in conjunction with the Downtown Arts Festival's Chelsea Art Walk day and with the cooperation of Dia Center for the Arts. Monitor 1 Joan Jonas Mirage 2, 2000, 30 min, b&w Mirage 2 is a reconsideration of the past, a new work edited by Jonas from footage recorded in the 1970s as part of her Mirage project. Eder Santos Projeto Apollo, 2000, 4 min, color Combining artfully designed sets and digital processing, Santos recreates the historic Apollo lunar landing, using simulation to interrogate representation. Ursula Hodel Cinderella 2001, 2001, 12 min, color Cinderella 2001 is a vibrant performance tape with an unnerving, compulsive narrative concerned with image and obsession. Phyllis Baldino 16 Minutes Lost, 2000, 16:54 min, color Baldino's 16 Minutes Lost is the perfect portrayal of scatterbrainedness, testament to the clutter of modern living and the inevitable failings of manmade systems. Monitor 2 Cheryl Donegan The Janice tapes: Lieder, 2000, 4 min, color; Whoa Whoa Studio (for Courbet), 2000, 4:30 min, color; Cellardoor, 2000, 2 min, silent In her new performance trilogy, Donegan sets up a series of charged relationships -- between artist and model, art object and artistic "gesture," performer and viewer. Mike Kelley Superman Recites Selections from 'The Bell Jar' and Other Works, 1999, 7:19 min, color, sound "In a dark no-place evocative of Superman?s own psychic ?Fortress of Solitude? the alienated Man of Steel recites those sections of Plath?s writings that utilize the image of the bell jar." Mike Kelley Kristin Lucas Involuntary Reception, 2000, 16:45 min, color Involuntary Reception is a double-imaged, double-edged report from a young woman lost in the telecommunications ether.
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National Endowment for the Arts Annual Report 1989
National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1989. Respectfully, John E. Frohnmayer Chairman The President The White House Washington, D.C. July 1990 Contents CHAIRMAN’S STATEMENT ............................iv THE AGENCY AND ITS FUNCTIONS ..............xxvii THE NATIONAL COUNCIL ON THE ARTS .......xxviii PROGRAMS ............................................... 1 Dance ........................................................2 Design Arts ................................................20 . Expansion Arts .............................................30 . Folk Arts ....................................................48 Inter-Arts ...................................................58 Literature ...................................................74 Media Arts: Film/Radio/Television ......................86 .... Museum.................................................... 100 Music ......................................................124 Opera-Musical Theater .....................................160 Theater ..................................................... 172 Visual Arts .................................................186 OFFICE FOR PUBLIC PARTNERSHIP ...............203 . Arts in Education ..........................................204 Local Programs ............................................212 States Program .............................................216
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Campus' Closed-Circuit Slavko Kacunko Slavko Kacunko
Campus' Closed-Ci rcu it Campus' Closed-Circuit Slavko Kacunko Slavko Kacunko Lr) oo oo f_E Die Uberwindung der empha- rischen Praktiken zwischen dem ln order to arrive at an impartial As we all know, the writing ai his- ==OC) Closet l- l- tischen 0pposition zwischen dem hermeneutischen Kontextuber- view of media art that derives its tory like 'directness' * is a C)(J - schen 13Etl (I)(l) ,spezifisch Medialen' und dem druss und semiotischer Kontext- pertinence from the spheres of construct. A discourse abou; the <t) a gerat oo ,historisch Gewordenen' ist eine euphorie. both media theory and art history, 'directness' of media from an (J (J br/Pr Voraussetzung fiir den unbefange- Das Historieschreiben ist ebenso it is essential to overcome the art-historical perspective mev -(n -u) auditit nen Blick auf die Medienkunst, wie die,Unmittelbarkeit' bekannt- emphatic opposition between what illuminate the conflux of technical (f_== o_ lung, t (\,EE (g der seine Kompetenzen sowohl lich eine Konstruktion. Ein Diskurs is 'specific to media' and what and human viewpoints and rrreigh (JO ftir die Bereich Medien- 'has aus dem der [iber die mediale,Unmittelbarkeit' become historical'. up the opportunities and the bildet. theorie wie auch der Kunstge- aus kunsthistorischer Perspektive A future history of media art will dangers brought about by their sowol schichte beziehen will. Eine krlnfti- kann das Ndherbringen von have to counter 'post-historical' convergence, even their mul,.:al deren ge Medienkunstgeschichte wird technischen und menschlichen apocalyptic paranoia and fantasies penetration, schen der,posthistorischen' End zeitpar a- Sichtweisen durchleuchten und die of abolition with a thesis of conti- The attempts made during trie So ist noia und den Aufhebungsfantasien Chancen und Gefahren ihrer An- nuity which does not construct early period of 'video art'to differ- des e eine Kontinuititsthese entgegen niherung und lnterpenetration 'pre-established harmonies' in entiate it from other media r;f des b setzen mtlssen, welche nicht abwagen.
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Before Projection: Video Sculpture 1974–1995 Contents
Henriette Huldisch Before Projection: Video Sculpture 1974–1995 Contents 5 Director’s Foreword 9 Acknowledgments 13 Before and Besides Projection: Notes on Video Sculpture, 1974–1995 Henriette Huldisch Artist Entries Emily Watlington 57 Dara Birnbaum 81 Tony Oursler 61 Ernst Caramelle 85 Nam June Paik 65 Takahiko Iimura 89 Friederike Pezold 69 Shigeko Kubota 93 Adrian Piper 73 Mary Lucier 97 Diana Thater 77 Muntadas 101 Maria Vedder 121 Time Turned into Space: Some Aspects of Video Sculpture Edith Decker-Phillips 135 List of Works 138 Contributors 140 Lenders to the Exhibition 141 MIT List Visual Arts Center 5 Director’s Foreword It is not news that today screens occupy a vast amount of our time. Nor is it news that screens have not always been so pervasive. Some readers will remember a time when screens did not accompany our every move, while others were literally greeted with the flash of a digital cam- era at the moment they were born. Before Projection: Video Sculpture 1974–1995 showcases a generation of artists who engaged with monitors as sculptural objects before they were replaced by video projectors in the gallery and long before we carried them in our pockets. Curator Henriette Huldisch has brought together works by Dara Birnbaum, Ernst Caramelle, Takahiko Iimura, Shigeko Kubota, Mary Lucier, Muntadas, Tony Oursler, Nam June Paik, Friederike Pezold, Adrian Piper, Diana Thater, and Maria Vedder to consider the ways in which artists have used the monitor conceptually and aesthetically. Despite their innovative experimentation and per- sistent relevance, many of the sculptures in this exhibition have not been seen for some time—take, for example, Shigeko Kubota’s River (1979–81), which was part of the 1983 Whitney Biennial but has been in storage for decades.
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Katy Schimert Born Grand Island New York, 1963
Katy Schimert Born Grand Island New York, 1963. Lives and works in New York and Rhode Island EDUCATION 1989 M.F.A., Yale University, New Haven, CT 1985 B.A., Philadelphia College of Art, Philadelphia, PA TEACHING EXPERIENCE Present Rhode Island School of Design. Associate Professor of Art, Department Head and Graduate Program Director of Ceramics 2011 Rhode Island School of Design, Visiting Critic, Foundation Studies (Drawing) Spring Semester 2005 New York University, Visiting Professor of Sculpture. Sculpture, Drawing, Graduate Critique 2004-05 Harvard University, Visiting Professor of Sculpture: Sculpture, Drawing, Senior Thesis. 1995-04 New York University, Adjunct Professor and Sculpture Department Coordinator: Sculpture, Drawing, Graduate Critique, Oversaw the department’s facilities, courses, faculty and staff. 1991-94 University Of California, Santa Barbara, Lecturer: Sculpture, Photography, Ceramics Graduate Critique 1989-91 Yale University, Lecturer: Sculpture Department SOLO EXHIBITIONS 2014 Camouflage, Ink and Silence, University Museum of Contemporary Art at the University of Massachusetts, Amherst, MA. Curated by Loretta Yarlow (Fall of 2014). Catalogue with essay by John Yau to be published Fall 2014 2010 The Elysian Fields, Ochi Gallery, Ketchum, Idaho 2008 The Monster, David Zwirner, New York, NY 2006 War Landscape, David Zwirner, New York, NY 2001 Body Parts, David Zwirner, New York, NY 2000 Mount Vesuvius, 1301PE, Los Angeles, CA 1999 Katy Schimert/MATRIX 181: Oedipus, University California Berkeley Art Museum and Pacific Film Archive, Berkeley, California No Limits Events Gallery, Milan, Italy 1998 Icarus and the World Trade Center, David Zwirner, New York, NY 1997 Oedipus Rex: The Drowned Man, The Renaissance Society at the University of Chicago, Chicago, IL [catalogue] 1996 Love on Lake Erie, AC Project Room, New York, NY 1995 Dear Mr.
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Diana Thater Born 1962 in San Francisco
This document was updated November 25, 2020. For reference only and not for purposes of publication. For more information, please contact the gallery. Diana Thater Born 1962 in San Francisco. Lives and works in Los Angeles. EDUCATION 1990 M.F.A., Art Center College of Design, Pasadena, California 1984 B.A., Art History, New York University SOLO EXHIBITIONS 2020 Diana Thater: Yes there will be singing, David Zwirner Offsite/Online: Los Angeles [online presentation] 2018 Diana Thater, The Watershed, Institute of Contemporary Art, Boston 2017-2019 Diana Thater: A Runaway World, The Mistake Room, Los Angeles [itinerary: Borusan Contemporary, Istanbul; Guggenheim Bilbao, Bilbao, Spain] 2017 Diana Thater: The Starry Messenger, Moody Center for the Arts at Rice University, Houston, Texas 2016 Diana Thater, 1301PE, Los Angeles 2015 Beta Space: Diana Thater, San Jose Museum of Art, California Diana Thater: gorillagorillagorilla, Aspen Art Museum, Colorado Diana Thater: Life is a Timed-Based Medium, Hauser & Wirth, London Diana Thater: Science, Fiction, David Zwirner, New York Diana Thater: The Starry Messenger, Galerie Éric Hussenot, Paris Diana Thater: The Sympathetic Imagination, Los Angeles County Museum of Art [itinerary: Museum of Contemporary Art Chicago] [catalogue] 2014 Diana Thater: Delphine, Saint-Philibert, Dijon [organized by Fonds régional d’art contemporain Bourgogne, Dijon] 2012 Diana Thater: Chernobyl, David Zwirner, New York Diana Thater: Oo Fifi - Part I and Part II, 1310PE, Los Angeles 2011 Diana Thater: Chernobyl, Hauser &
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DIANA THATER Science, Fiction
533 West 19th Street Fax 212 727 2072 David Zwirner New York, NY 10011 Telephone 212 727 2070 For immediate release DIANA THATER Science, Fiction January 8 – February 21, 2015 Opening reception: Thursday, January 8, 6 – 8 PM Press preview with the artist: 10 AM David Zwirner is pleased to present an exhibition of new work by Diana Thater, on view at 533 West 19th Street in New York. Shown here for the first time will be a new type of installation by the artist involving an enclosed video projection, ceiling screen, and light, as well as two new video walls. Thater is one of the most important video artists working today. Since the early 1990s, she has created a wide range of film, video, and installation-based works whose sculptural forms engage spatial perception in physical, The Starry Messenger, 2014 (rendering) 9-monitor video wall as well as conceptual, terms. Her pioneering oeuvre 68 3/8 x 121 x 3 5/8 inches was among the first to push the boundaries of how new (173.7 x 307.3 x 9.2 cm) media art is displayed, helping to cement its position in the art world. Through a combination of the temporal qualities of video and the architectural dimension of its physical installation, Thater’s work explores the artifice of its own production and its capacity to construct perception and shape the way we think about the world through its image. Natural diversity, wildlife, and conservation have been persistent themes in the artist’s work, and she has dedicated herself to an examination of the varied kinds of relationships humans have constructed with animals.
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Press Release
Positions I Bruce and Norman Yonemoto (in collaboration with Mike Kelley) Kappa (1986) 7 – 11 July 2015 Evening Screening and & Drinks Reception, Thursday 9 July, 6-8pm For the first week of Positions—a series of five week-long, single channel video installations running through July and August 2015—Hales Gallery is delighted to present Bruce and Norman Yonemoto’s 1986 film Kappa, made in collaboration with artist Mike Kelley. Bruce and Norman Yonemoto are known for their pioneering body of work deconstructing and exploring mythologies created within mass media culture, as well as for their independent video and installation work produced in more recent years. Beginning in 1976, the artists would appropriate the styles of popular media forms (soap operas, Hollywood melodramas and television advertising) to create ironic, stylised fictions exposing the media’s manipulation of reality, fantasy and identity. Underlying their critique of culture is the brothers’ Japanese-American heritage and their upbringing in California’s Silicon Valley, as well as their proximity to Hollywood and the entertainment industry. The film Kappa combines the Greek myth of Oedipus with the figure of the ‘Kappa’ from Japanese folklore to explore the presence and relative positions of Eastern and Western mythologies in everyday life. The Kappa (a freshwater deity or sprite known for its sexual and violent behaviours, played by Mike Kelley) encounters an Oedipal scene reframed in a contemporary south-Californian setting, watching and commenting as Jocasta (Oedipus’s mother, played by famous Warhol Factory member and B-movie actress Mary Woronov) and Eddie (a pun on ‘Oedipus’, played by Eddie Ruscha, son of artist Ed Ruscha) consummate their dangerous desire.
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