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The Newarnerican Filmmakers Series : EXHIBITIONS of INDEPENDENT EXHIBITIONSThe NewArnericanOF INDEPENDENT FilmmakersFILM AND VIDEO SeriesNUMBER I Roger Welch September 22-October 24,1982 Drive-In : Second Feature, 1982. Film installation Gallery Talk, Thursday, September 30, at 2:00 On view continuously 12:00-6:00, Tuesdays until 8:00 Roger Welch will be present Since its invention in the late nineteenth century, film has been the preeminent medium for the creation of moving images. But today the electronic technologies of video and broadcast television are challenging its dominance. These new mass media are having an impact on all areas of film: production, distribution, and aesthetics. Our central experience of film has been social. Whether a commercially popular entertainment feature or an avant- garde work, a film is generally viewed in a theater -a collective experience. This condition of the cinematic ex- perience is in marked contrast to the more private home environment of television . Here the rapidly developing concept of the home entertainment center, designed to re- ceive cable and satellite programs and play videotapes acquired by the viewer, is becoming an alternative to the theatrical experience of filmgoing . Roger Welch's installation Drive-In: Second Feature re- flects on the popular mythology that has grown up around Drive-In, 1980. Film installation at P.S . 1, Institute for Art and Urban the social act of "going to the movies ." This project derives Resources, Long Island City, New York . Photograph by D. James Dee. from Welch's earlier works, which comment on the iconog- raphy and the rituals that give popular culture its power. The 1958 Cadillac now appears to us, amid a changing The layers of irony that inform Drive-In include the ar- world economy, as a relic of the distant past . Thus Welch's chaic appearance of the Cadillac andthe drive-iris screen. transformation of the car and screen intosymbolsof"Amer- The drive-in epitomizes the effort of movie exhibitors inthe ican culture . created as if by a Micronesian cargo cult or 1950s to create new ways of showing films so as to retain au- a contemporary Robinson Crusce," through the strategy of diences beginning to be lured away by television. The re-creating their forms out of twigs and branches, is partic- theater became a parking lot, with the rows of cars forming ularly apt. Drive-In: Second Feature also represents an their own communities within and between themselves. important aspect of the recent history of film as an art form: the development of installation works which treat film not Drive-In, 1980. Film installation at P.S. 1, Institute for Art and Urban Resources, Long Island City, New York . Photograph by D. James Dee. as theater but as a sculptural andmultimedia environment. Thus this latest project extends Welch's previous works as it reflects on the changing cultural, and social, experience of watching film. Drive-In: SecondFeature appears like a totemic sign of the industrial, mechanical age of the motion picture and the automobile, which is passing as new electronic tech- nologies emerge, altering our way of life and our forms of entertainment and art-making . The future of film and tele- vision, as we know them, is open. Roger Welch's elegant work contemplates film from a double perspective, seeing it as both a theatrical and an installation medium . John G. Hanhardt Curator, Film and Video The New American Filmmakers Series is made possible in part by public funds from the New York State Council on the Arts and by a grant from the National Endowment for the Arts . Drive-In : Second Feature, 1982 The drive-in movie theater is a particularly American phe- nomenon that could be considered a symbol of the post- World War II United States. Drive-ins are now disappear- ing, along with the giant cars of the 1950s that brought the crowds to them. One such car was the Cadillac . The Cadillac became a symbol of affluence, a Rolls-Royce for the American upper middle class . The owner of a Cadillac Eldorado identified not only with the comfort of a low-to-the-ground 325-horse- power ride, but also with the audacious design, a style that stood for the power of aerodynamics . Drawings for Drive-In : Second Feature, 1982 . Ink on paper, 14 x 17 inches In Drive-In: Second Feature these two symbols of Amer- each . Collection of the artist . ican culture are created as if by a Micronesian cargo cult or a contemporary Robinson Crusoe. Both the familiar drive- in screen and a 1958 Cadillac are done in the most primitive manner with some of the most common materials, twigs and branches tied together with twine. What seems to have been discovered in the jungle is now brought back, to be dis- played in a museum. Along with the drive-in screen are projected fragments of what was once shown on. it, like pieces of a broken artifact an archeologist would put back together again . ota e~awx,. n namso a~~ I. ec rw , " Bb I Drive-In: Second Feature is the product of an archeo- A recf~x94~w,ex r- logical expedition into contemporary America . Roger Welch Biography Selected Bibliography Roger Welch, who was born in Westfield, New Jersey, in 1946, studied Apple, Jackie . Alternatives in Retrospect : An Historical Overview painting and sculpture at Miami University in Oxford, Ohio; Kent State 1969-1975 (exhibition catalogue) . New York: The New Museum, University ; and the School of the Art Institute of Chicago, where he re- 1981, pp . 12, 20, 30, 35. ceived an M.F.A. in 1971 . Hiswork in a wide range of media-sculpture, Collins, James. "Reviews : RogerWelch, John GibsonGallery."Artforum, drawing, performance, film, video, andphotography -explores thecon- 12 (April 1974), pp . 78-79. cerns of Conceptual and Process art . One of his major interests has been Davis, Douglas. Art Culture : Essays on the Post-Modern. New York : Har- the process of memory and its ability to make "memory maps" and "photo per & Row, Publishers, Inc ., 1977, p. 36. memory works"; he has lately been involved in recycling and restructur- Naylon, Colin, and Genesis Porridge . Contemporary Artists . London : ing objects and forms which have become symbols within society. Welch's St. James Press Ltd., 1977, pp . 1034-35 . works are included in numerous private andmuseum collections, among Popper, Frank. Art. Action and Participation . New York : New York Uni- them the Museo deArte Contemporineo Internacional Ruffno Tamayo in versity Press, 1975, pp . 259-61, 263. Mexico City ; the Georgia Museum of Art at the University of Georgia, Rice, Shelley . "Reviews : Roger Welch, P. S. 1 ." Artforum, 19 (March Athens; and the Museum of Modern Art, New York . He lives in New York . 1981), pp . 88-89. Roger Welch, 1970-1980 (exhibition catalogue) . Mexico City : Museo de Selected One-Artist Exhibitions Arte Moderno, 1980 . Sonnabend Gallery, New York, 1972 ; John Gibson Gallery, New York, Schjeldahl, Peter. "Let's NotRead Narrative Art Too Seriously :"New York 1973 ; Milwaukee Art Center, 1974 ; Stefanotti Gallery, New York, 1975 ; Times, December 8, 1974, Arts and Leisure section, p. 35. Albright-Knox Art Gallery, Buffalo, 1977 ; Museo de Arte Moderno, Sky, Allison, and Michelle Stone. UnbuiltAmerica . New York : McGraw- Mexico City, 1980 ; P.S. 1, Institute for Art and Urban Resources, Long Hill Book Company, 1976, pp . 9, 250. Island City, New York, 1981; Museo de Bellas Arte, Caracas, 1981 . Smith, Phillip . "Roger Welch and the Sculpture of Memory ." Arts Mag- azine, 50 (October 1975), pp . 57-59. Selected Group Exhibitions Smith, Roberta . "Reviews : Roger Welch, John Gibson Gallery ." Artforum, Kassel, West Germany, Documenta 5, 1972 ; John F. Kennedy Center for 12 (December 1973), p. 83 . the Performing Arts, Washington, D.C., "Art Now '74," 1974 ; Wallraf- Richartz-Museum, Cologne, West Germany, "Projekt'74," 1974 ; Akade- mie der Kunste, West Berlin, "SoHo Manhattan," 1976 ; Kassel, West Ger- many, Documenta 6, 1977 ; Contemporary Arts Museum, Houston, Whitney Museum of American Art "American Narrative Art, 1967-77," 1978 ; The Clocktower, Institute for 945 Madison Avenue, New York, New York 10021 Art and Urban Resources, New York, "Film as Installation," 1980; The Hours New Museum, New York, "Alternatives in Retrospect : An Historical Over- Tuesday 11 :00-8:00 view, 1969-1975," 1981 ; Helen Foresman Spencer Museum of Art, Uni- Wednesday-Saturday 11 :00-6:00 versity of Kansas, Lawrence, "Four Artists and the Map-Jasper Johns, Sunday 12:00-6:00 Nancy Graves, Roger Welch, and Richard Long," 1981 . Film and video information : (212) 570-0537 Copyright c, 1982 by the Whitney Museum of American Art, 945 Madison Avenue, New York, New York 10021 The Filmmakers Series EXHIBITIONSNewArnericanOF INDEPENDENT FILM AND VIDEO Leandro Katz November 2-December 5, 1982 The Judas Window, 1982 . Film installation Gallery Talk, Thursday, November 18, at 2 :00 On view continuously 12:00-6:00, Tuesdays until 8:00 Leandro Katz will be present Works in the installation: Achatinella Series, 1982. 26 shells and 40 Cibachrome photographs in wood display case with hinged lid: display case, 33 x 86 x 34 inches; display-case lid, 86 x 34 inches Black Maria, 1982. Black and red canvas over wood frame, 120 x 90 x 90 inches (maximum) Friday's Footprint, 1982. Slide projector, color 35mm slide, sandbox, sand, and synthetic polymer: sandbox, 4 x 55 x 25 inches Judas Curtain, 1982 . Velvet, metallic powder, and adhesive, 19 feet x 100 inches The Judas Window, 1982 . Color 16mm film loop, silent; 17-minute cycle Parasol, 1982 . Bamboo, string, brass, steel, and color Xeroxes, 100 inches (diameter) x 100 inches (stem) Credits : Production : Victor Alzamora, Seth Dembar . Additional assistance : of sculptural objects, including a large parasol covered Barbara Breedon, Juan Julian Caicedo, Robin Ticho.
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