Video Newsletter
Total Page：16
File Type：pdf, Size：1020Kb
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. -
The Sacred Ground
The Sacred Ground: Enhancing and Constructing the Transcendent State in the Immersive Installation Environment A project submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Sadia Sadia M. Sc. Political Science and Economics, Birkbeck College, University of London M.A. Design Studies, Central Saint Martins, University of the Arts (London) School of Art College of Design and Social Context RMIT University June 2019 !ii Declaration I certify that except where due acknowledgement has been made, the work is that of the author alone; the work has not been submitted previously, in whole or in part, to qualify for any other academic award; the content of the project is the result of work which has been carried out since the official commencement date of the approved research program; any editorial work, paid or unpaid, carried out by a third party is acknowledged; and, ethics procedures and guidelines have been followed. I acknowledge the support I have received for my research through the provision of an Australian Government Research Training Program Scholarship. Sadia Sadia 4 June 2019 !iii Notes This dissertation was produced employing the Chicago Manual of Style (2017) ‘Notes and Bibliography’ citation style. Where a concept is expressed across the entirety of a document, no page number is listed in the footnote. The manual allows the use of ‘ibid.’ while expressing a preference for shortened citations. The use of shortened citations is new to the 17th edition, and this document preferences the use of ‘ibid.’ over the shortened citation format. Websites have been included in the bibliography. -
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. -
Chi-Wen Gallery Art Stage Singapore 2016
Chi-Wen Gallery Art Stage Singapore 2016 January 21-24, 2016 Video Stage : Fifty around 5 (Singapore Edition) - The Artist in The Picture Curated by Chi-Wen Huang Selected Artists: 李然 Li Ran，Chim↑Pom，崔廣宇 Tsui Kuang-Yu，余政達 Yu Cheng-Ta，關尚智 Kwan Sheung Chi， 陳瀅如 Yin-Ju Chen Fifty around 5, Singapore Edition “The Artist in the Picture”, curated by Chi-Wen Huang. Video and the use of moving images in artistic expression became popular in the 1960s with the development of new video technology, but in terms of the long sweep of art history, video art is still very much a new medium. Now those new technologies, such as camera phones, affordable HD cameras and editing equipment, allow video to be created in new and exciting ways and YouTube alone is said to launch 48 hours of video every minute. Initially, at least until the 1990’s, video as an art genre was mainly attributed to the western hemisphere, in spite of the fact that many of its most important representatives such as Nam June Paik were from Asia. However, since the turn of the century, many artists in Asia have turned to video and Asian video art has found a global public, especially at burgeoning biennales and art exhibitions across Asia and beyond. Fifty around 5, Singapore Edition “The Artist in the Picture” will focus on those single channel video works by Asian artists that feature the artists themselves performing in the video. Historically many video art pioneers came from performance and installation movements, including Vito Acconci, Bruce Nauman, Chris Burden, Joseph Beuys, John Baldessari, Bill Viola and Marina Abramovic amongst others, who all appeared them in what are now some of the most seminal video art works in history. -
Discovering the Contemporary
of formalist distance upon which modernists had relied for understanding the world. Critics increasingly pointed to a correspondence between the formal properties of 1960s art and the nature of the radically changing world that sur- rounded them. In fact formalism, the commitment to prior- itizing formal qualities of a work of art over its content, was being transformed in these years into a means of discovering content. Leo Steinberg described Rauschenberg’s work as “flat- bed painting,” one of the lasting critical metaphors invented 1 in response to the art of the immediate post-World War II Discovering the Contemporary period.5 The collisions across the surface of Rosenquist’s painting and the collection of materials on Rauschenberg’s surfaces were being viewed as models for a new form of realism, one that captured the relationships between people and things in the world outside the studio. The lesson that formal analysis could lead back into, rather than away from, content, often with very specific social significance, would be central to the creation and reception of late-twentieth- century art. 1.2 Roy Lichtenstein, Golf Ball, 1962. Oil on canvas, 32 32" (81.3 1.1 James Rosenquist, F-111, 1964–65. Oil on canvas with aluminum, 10 86' (3.04 26.21 m). The Museum of Modern Art, New York. 81.3 cm). Courtesy The Estate of Roy Lichtenstein. New Movements and New Metaphors Purchase Gift of Mr. and Mrs. Alex L. Hillman and Lillie P. Bliss Bequest (both by exchange). Acc. n.: 473.1996.a-w. Artists all over the world shared U.S. -
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. -
Object/Poems: Alison Knowles's Feminist Archite(X)
JAMES FUENTES 55 Delancey Street New York, NY 10002 (212) 577-1201 [email protected] Nicole L. Woods Some visits later I arrived at his door with eleven color swatches…[Duchamp] chose one and set it aside on the buffet. After lunch, his wife Teeny picked up Object/Poems: the swatch and said, “Oh Marcel, when did you do this?” He smiled, took a pen- Alison Knowles’s cil and signed the swatch. The following year Marcel died. Arturo Schwarz wrote Feminist me suggesting I had the last readymade. Teeny and Richard Hamilton assured me Archite(x)ture that I did not, but that I had a piece of interesting memorabilia.4 You see you have to get right into it, as This brief experience with one of the most you do with any good book, and you must prolific and influential artists of the twen- become involved and experience it your- tieth century was but one of many chance self. Then you will know something and encounters that would characterize Knowles’s feel something. Let us say that it provides artistic practice for more than four decades. a milieu for your experience but what you The experience of seeing the readymade pro- bring to it is the biggest ingredient, far cess up close served to reaffirm her sense of more important than what is there. the exquisite possibilities of unintentional —Alison Knowles 1 choices, artistic and otherwise. Indeed, Knowles’s chance-derived practice throughout the 1960s and 1970s consistently sought to The world of objects is a kind of book, in frame a collection of sensorial data in vari- which each thing speaks metaphorically ous manifestations: from language-based of all others…and is read with the whole notational scores and performances to objet body, in and through the movements and trouvé experiments within her lived spaces, displacements which define the space of computer-generated poems, and large-scale objects as much as they are defined by it. -
AR592 Art History Seminar Research Paper BILL VIOLA
AR592 Art History Seminar Research Paper BILL VIOLA: REACHING THE SUBCONSCIOUS Submitted by Heidi Leech Department of Art In partial fulfillment of the requirements for the Degree of Master of Fine Arts Colorado State University Fort Collins, Colorado Spring 1996 I am transported from my conscious state to my subconscious, and feel like a stranger there. The room is scary but inviting, out of control and overwhelming but, at the same time, calm and safe. I am enveloped by the installation. Faint and static-blurred dream images of landscapes and interiors fill and move lazily across the square room's walls. The sound of static surrounds me. The images culminate into a child's face, projected across a wall, blowing out a candle as the room goes black and silent. The Cloud of Unknowing, 1994 (figure 1), a piece in the Denver Art Museum exhibition, Visions ofAmerica: Landscape as Metaphor in the Twentieth Century, was the first video installation I experienced by artist Bill Viola. It caused a reaction within me. I was and still am unable to clearly define the effect in words; I can only say that it was very powerful. I was overwhelmed by it. As I exited the installation I realized that I had not just seen images and heard sounds, but had felt the piece emotionally and physically. The second Bill Viola piece I experienced was at the Museum fur Modern Kunst in Frankfurt am Main, Germany. The Stopping Mind, 1991 (figure 2), is an installation of four life size screens, oriented to make a square, surrounding viewing space. -
The Social and Environmental Turn in Late 20Th Century Art
THE SOCIAL AND ENVIRONMENTAL TURN IN LATE 20TH CENTURY ART: A CASE STUDY OF HELEN AND NEWTON HARRISON AFTER MODERNISM A DISSERTATION SUBMITTED TO THE PROGRAM IN MODERN THOUGHT AND LITERATURE AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY LAURA CASSIDY ROGERS JUNE 2017 © 2017 by Laura Cassidy Rogers. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial-Share Alike 3.0 United States License. http://creativecommons.org/licenses/by-nc-sa/3.0/us/ This dissertation is online at: http://purl.stanford.edu/gy939rt6115 Includes supplemental files: 1. (Rogers_Circular Dendrogram.pdf) 2. (Rogers_Table_1_Primary.pdf) 3. (Rogers_Table_2_Projects.pdf) 4. (Rogers_Table_3_Places.pdf) 5. (Rogers_Table_4_People.pdf) 6. (Rogers_Table_5_Institutions.pdf) 7. (Rogers_Table_6_Media.pdf) 8. (Rogers_Table_7_Topics.pdf) 9. (Rogers_Table_8_ExhibitionsPerformances.pdf) 10. (Rogers_Table_9_Acquisitions.pdf) ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Zephyr Frank, Primary Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Gail Wight I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Ursula Heise Approved for the Stanford University Committee on Graduate Studies. Patricia J.