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Scripting Artworks: Studying the Socialization of Editioned Video and Film Installations

Noël de Tilly, A.

Publication date 2011

Link to publication

Citation for published version (APA): Noël de Tilly, A. (2011). Scripting Artworks: Studying the Socialization of Editioned Video and Film Installations.

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Download date:25 Sep 2021 List of figures

Images of Chapter 1

Figure 1.1 , Outer and Inner Space (1965) Installation view, Beyond Cinema: The Art of Projection Hamburger Bahnhof, Berlin, 29 September 2006 – 25 February 2007 Photograph: Ariane Noël de Tilly

Figure 1.2 Peter Bogers, Heaven (1995) Installation view Festival aan de Werf, Utrecht, 1995 Source: http://www.peterbogers.com/work/Installations%20sculpture/1996%20Heaven/heaven_files/page0011.htm

Figure 1.3 Peter Bogers, Heaven Installation view, The Living Huize Frankendael (exhibition organized by the Stedelijk Museum), Amsterdam, 24 October – 1 November 2009 Source: http://www.peterbogers.com/Exhibitions/2009_Heaven_Frankendael/KopieFrankendael/Kopie%20van%202009 _Frankendael_Heaven.htm

Figure 1.4 Anthony McCall, Line Describing a Cone (1973) Installation view, Into the Light: The Projected Image in American Art 1964-1977 Whitney Museum of American Art, New York, 18 October 2001 – 6 January 2002 Source: http://www.anthonymccall.com/pg1.html Photograph: Henry Graber, 2002

Figure 1.5 Anthony McCall, Long Film for Ambient Light (1974) Installation view Idea Warehouse, New York, 18-19 June 1975 Source: http://reproach.wordpress.com/2007/06/26/anthony-mc-call/

Figure 1.6 , Shadow Projection (1974) Installation view Source: http://visualarts.walkerart.org/detail.wac?id=5374&title=past%20exhibitions&style=images

Figure 1.7 , Ever is Over All (1996) Installation view, Beyond Cinema: The Art of Projection Hamburger Bahnhof, Berlin, 29 September 2006 – 25 February 2007 Photograph: Ariane Noël de Tilly

5 Images of Chapter 3

Figure 3.1 Douglas Gordon, Play Dead; Real Time (2003) Gagosian Gallery, New York, 22 February – 29 March 2003 Courtesy of the artist Photograph: Robert McKeever

Figure 3.2 Douglas Gordon, 24 Hour Psycho (1993) Source: http://www.nationalgalleries.org/whatson/exhibition/5:368/4366/4418

Figure 3.3 Douglas Gordon, 10ms-1 (1994) Installation view, Douglas Gordon: blood, sweat, tears DOX, Prague, 4 June – 27 September 2009 Photograph: Ariane Noël de Tilly

Figure 3.4 Douglas Gordon, Play Dead; Real Time (2003) Installation view National Gallery of Canada, Ottawa, 20 May 2003 – 26 April 2004 Courtesy of the artist and the National Gallery of Canada

Figure 3.5 Douglas Gordon, Play Dead; Real Time (2003) Installation view, Douglas Gordon: Between Darkness and Light. Werke 1989 – 2007 Kunstmuseum Wolfsburg, 20 April – 12 August 2007 Courtesy of the artist Photograph: Bert Ross

Figures 3.6 and 3.7 Douglas Gordon, Play Dead; Real Time Installation views, Douglas Gordon Galerie de l’UQAM (Mois de la Photo), Montréal, 7 September – 6 October 2007 Courtesy of the artist Photographs: Bert Ross

Figure 3.8 Douglas Gordon, Play Dead; Real Time Installation view, Douglas Gordon: blood, sweat, tears DOX, Prague, 4 June – 27 September 2009 Photograph: Ariane Noël de Tilly

Figure 3.9 Douglas Gordon, Play Dead; Real Time (2003) Installation view, Douglas Gordon. prettymucheverywordwritten, spoken, heard, overheard from 1989… Museo di Arte Moderna e Contemporanea di Trento e Rovereto, 7 October 2006 – 21 January 2007 Courtesy of the artist

Figure 3.10 Douglas Gordon, Pretty Much Every Film and Video Work From 1992 Until Now To be Seen on Monitors, Some with Headphones, Others Run Silently, and all Simultaneously (1992 – ongoing) Installation view, Douglas Gordon: blood, sweat, tears DOX, Prague, 4 June – 27 September 2009 Photograph: Ariane Noël de Tilly

6 Figure 3.11 Douglas Gordon, Pretty Much Every Film and Video Work From 1992 Until Now To be Seen on Monitors, Some with Headphones, Others Run Silently, and all Simultaneously (1992 – ongoing) Installation view, Douglas Gordon: Between Darkness and Light. Werke 1989 - 2007 Kunstmuseum Wolfsburg, 20 April – 12 August 2007 Photograph: Arnoud Noordegraaf

Figure 3.12 Douglas Gordon, Pretty Much Every Film and Video Work From 1992 Until Now To be Seen on Monitors, Some with Headphones, Others Run Silently, and all Simultaneously (1992 – ongoing), detail Installation view, Douglas Gordon: blood, sweat, tears DOX, Prague, 4 June – 27 September 2009 Photograph: Ariane Noël de Tilly

Figure 3.13 Douglas Gordon, Pretty Much Every Film and Video Work From 1992 Until Now To be Seen on Monitors, Some with Headphones, Others Run Silently, and all Simultaneously (1992 – ongoing), detail Installation view, Douglas Gordon: blood, sweat, tears DOX, Prague, 4 June – 27 September 2009 Photograph: Ariane Noël de Tilly

Figure 3.14 Douglas Gordon, Play Dead; Real Time (2003) and Pretty Much Every Film and Video Work From 1992 Until Now To be Seen on Monitors, Some with Headphones, Others Run Silently, and all Simultaneously (1992 – ongoing) Installation view, Douglas Gordon. prettymucheverywordwritten, spoken, heard, overheard from 1989… Museo di Arte Moderna e Contemporanea di Trento e Rovereto, 7 October 2006 – 21 January 2007 Courtesy of the artist

Figure 3.15 Douglas Gordon, I am aware of who you are & what you do. Installation view, Douglas Gordon: blood, sweat, tears DOX, Prague, 4 June – 27 September 2009 Photograph: Ariane Noël de Tilly

Figure 3.16 Douglas Gordon, From the moment you hear these words, until you kiss someone with green eyes. Installation view, Douglas Gordon: blood, sweat, tears DOX, Prague, 4 June – 27 September 2009 Photograph: Ariane Noël de Tilly

7 Images of Chapter 4

Figure 4.1 Carl Andre, Equivalents I-VIII (1966) Installation view Tibor de Nagy Gallery, New York, 1966 Source: Martha Buskirk, The Contingent Object of Contemporary Art (Cambridge, The MIT Press, 2003), 29.

Figure 4.2 Mike Kelley, Craft Morphology Flow Chart (1991) Installation view, Carnegie International 1991 The Carnegie Museum of Art, Pittsburgh, 19 October 1991 – 16 February 1992 Source: http://soloosos.wordpress.com/2008/08/

Figure 4.3 Mike Kelley, Educational Complex (1995) Installation view Source: http://www.wiels.org/site2/event.php?event_id=17

Figures 4.4 - 4.7 Mike Kelley, Extracurricular Activity Projective Reconstruction #1 (A Domestic Scene) (2000) Installations views, Mike Kelley Galleria Emi Fontana, Milan, 5 June – 11 November 2007 Source: http://www.galleriaemifontana.com/exhibitions/44

Figure 4.8 Found photograph that inspired Mike Kelley’s Extracurricular Activity Projective Reconstruction # 1 (A Domestic Scene) Source: http://www.galleriaemifontana.com/exhibitions/44

Figure 4.9 Mike Kelley, Extracurricular Activity Projective Reconstruction #1 (A Domestic Scene) (2000) Installation view, Mike Kelley: Educational Complex Onwards 1995-2008 Wiels, Brussels, 12 April – 27 July 2008 Photograph: Ariane Noël de Tilly

Figure 4.10 Mike Kelley, Day Is Done (2005) Installation view, Mike Kelley: Day Is Done Gagosian Gallery, New York, 11 November – 17 December 2005 Source: http://www.gagosian.com/exhibitions/24th-street-2005-11-mike-kelley/

Figure 4.11 Mike Kelley, Switching Marys (2005) Installation view, Below the Surface Stedelijk Museum, Amsterdam, 22 December 2006 – 22 February 2007 Source: Stedelijk Museum

Figure 4.12 Mike Kelley, Switching Marys (2005) Installation view, Mike Kelley: Day Is Done Gagosian Gallery, New York, 11 November – 17 December 2005 Source: Gagosian Gallery

8 Figure 4.13 Mike Kelley, Woods Group (2005) Installation view, Mike Kelley: Educational Complex Onwards: 1995-2008 Wiels, Brussels, 12 April – 27 July 2008 Photograph: Ariane Noël de Tilly

Figure 4.14 Mike Kelley, Lonely Vampire (2005) Installation view, Mike Kelley: Educational Complex Onwards: 1995-2008 Wiels, Brussels, 12 April – 27 July 2008 Photograph: Ariane Noël de Tilly

Figure 4.15 Mike Kelley, Joseph Supplicates (2005) Installation view, Mike Kelley: Educational Complex Onwards: 1995-2008 Wiels, Brussels, 12 April – 27 July 2008 Photograph: Ariane Noël de Tilly

Figure 4.16 Mike Kelley, Joseph Supplicates and Lonely Vampire (2005) Installation view, Mike Kelley Goetz Collection, Munich, 1 December 2008 – 25 April 2009 Source: Goetz Collection Photograph: Nic Tenwiggenhorn

Figure 4.17 Mike Kelley, Woods Group (2005) Exhibition view, Mike Kelley Goetz Collection, Munich, 1 December 2008 – 25 April 2009 Source: Goetz Collection Photograph: Nic Tenwiggenhorn

9 Images of Chapter 5

Figure 5.1 John Massey, The Embodiment (1976) iron, cloth, wax, wood, lights, 2.44 x 4.72 x 3.05 m Installation view, 720 King St. West, Toronto, 1976 Photograph: Robert Johnston Source: http://cybermuse.gallery.ca/cybermuse/search/artwork_zoom_e.jsp?mkey=14508

Figure 5.2 Floor plan of the installation of As the Hammer Strikes (A Partial Illustration) Exhibition OKanada, Akademie der Künste, Berlin, 5 December 1982 – 30 January 1983 Source: File 1227-02 of the exhibition OKanada in the archives of the Akademie der Künste, Berlin. [Archives consulted on 25 March 2011.]

Figure 5.3 Synchronization system built in 1982 for the presentation of As the Hammer Strikes (A Partial Illustration) Photograph: Ariane Noël de Tilly

Figure 5.4 As the Hammer Strikes (A Partial Illustration), 1982 Presented as a three-channel (3 laser disks transferred from 3 16 mm films, one color, 2 b/w) Installation view, John Massey Art Gallery of Hamilton, 12 February – 24 April 1994 Courtesy of the artist

Figure 5.5 John Massey. As the Hammer Strikes (A Partial Illustration), 1982 Installation view, Canadian Stories Ydessa Hendeles Art Foundation, Toronto, 14 October 2000 – 30 June 2003 Presented as a three-channel video installation (3 laser disks transferred from 3 16 mm films, one color, 2 b/w) Courtesy of the artist

Figure 5.6 As the Hammer Strikes (A Partial Illustration) Installation view, Beyond Cinema: The Art of Projection Hamburger Bahnhof, Berlin, 29 September 2006 – 25 February 2007 Photograph: Ariane Noël de Tilly

Figure 5.7 As the Hammer Strikes (A Partial Illustration) Installation view, Elastic Frames Transmission, Glasgow, 8 February – 5 March 2011 Source: Transmission

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