DOCSLIB.ORG

California Video

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
California Video DATE: January 18, 2008 FOR IMMEDIATE RELEASE Nancy Buchanan, stills from Tech- Tony Labat, Solo Flight, Knowledge, 1984, single-channel- 1977-78, single channel- Harry Dodge and Stanya video, color, sound, 16:00. Research video, B/W, sound, 32:00. Kahn, stills from Whacker, Research Library, The Getty 2005, single-channel video, Library, The Getty Research Institute (2006.M.7) Research Institute color, sound, 07:07 GETTY EXHIBITION SHOWCASES 40 YEARS OF GROUNDBREAKING VIDEO BY CALIFORNIA ARTISTS California Video At the J. Paul Getty Museum, Getty Center March 15 – June 8, 2008 “Artists will one day work with electronic apparatuses the same as they now work with a brush...” -Nam June Paik, 1965 LOS ANGELES—Over the past four decades, video has played an increasingly central role in artistic production throughout the world. This has been particularly true in California, where many of the state’s most prominent artists have used the medium to produce some of their most significant works. Co-organized by the Getty Research Institute and the Getty Museum, and on view in the J. Paul Getty Museum’s special exhibition pavilion at the Getty Center, March 15 through June 8 2008, California Video highlights the unique sensibilities of West Coast video, while providing the first major survey of video art produced in California. California Video will feature more than 50 single-channel videos and 15 installations by 58 artists including Eleanor Antin, John Baldessari, Brian Bress, Nancy Buchanan, Chris Burden, Jim Campbell, Meg Cranston, Harry Dodge & Stanya Kahn, Allan Kaprow, Mike Kelley, Paul McCarthy, Bruce Nauman, Tony Oursler, Martha Rosler, Jennifer Steinkamp, T.R. Uthco and Ant Farm, Diana Thater, Bill Viola, and William Wegman. Approximately half the works in the exhibition will be drawn from the Getty Research Institute’s (GRI) extraordinary -more- Page 2 collection of video art, which, since its acquisition of the Long Beach Museum of Art Video Archive in 2006, has become one of the largest institutional collections in the world. The GRI’s superlative collection will be augmented by the loan of important video installations, rarely exhibited historical single-channel works, and a selection of recent works by established and emerging artists. A highlight of the exhibition will be the reconstruction of the original installation of The Eternal Frame (1975-76), by the Bay Area collectives T. R. Uthco and Ant Farm. The well- known video in this installation depicts the artists re-enacting the iconic Zapruder footage of the assassination of John F. Kennedy in Dallas, Texas, while also documenting the puzzled and emotional responses from tourists and passersby. When presented at the Long Beach Museum of Art in 1976, the video was exhibited on an antique television within an elaborately constructed 1960s living room filled with dozens of pieces of JFK memorabilia. For the first time since its original installation, a full reconstruction of this piece will be featured in the Getty’s exhibition. The single-channel video works in the exhibition cover a broad range of activities by artists from Northern and Southern California, including performance and conceptual art, experimental narratives, lush video abstractions, and politically and socially engaged documentaries. A number of these works have rarely or never been publicly exhibited before, including very early videos by the Kipper Kids, Tony Labat, Tony Oursler, and Paul McCarthy. California Video also showcases work by lesser-known pioneers of the medium, including remarkable performance works by Cynthia Maughan and Wolfgang Stoerchle, early punk music videos by Joe Rees and Target Video, and Arthur Ginsberg’s The Continuing Story of Carel and Ferd (1970-75), a surprising experiment in social documentary that is a clear precursor to reality television. In California Video, a number of spectacular large-scale video installations will be presented, including a new site-specific work by Jennifer Steinkamp, Oculus Sinister (2008), which will be projected inside the oculus of the Getty Museum’s special exhibitions pavilion. Paul Kos’ Chartres Bleu (1983-86) replicates a stained-glass window from Chartres Cathedral, using a tower of 27 video monitors representing each of the window’s 27 panes. Within 12 minutes, the video panes fade from daylight into night. In Jim Campbell’s Home Movies (2006), a 16-foot grid of variably bright LEDs (light emitting diodes) casts a soft light onto the wall behind it, causing viewers to perceive hazy and evocative images reminiscent of home movie footage. The exhibition also includes the first public exhibition on the West Coast of an -more- Page 3 installation from Mike Kelley’s Day is Done series, as well as installations by Hilja Keading, Bruce Nauman, Diana Thater, Bill Viola, and Bruce and Norman Yonemoto. California Video will also feature a “video study room,” which will provide visitors with an alternative way to experience the single-channel works in the exhibition. Using touchscreen kiosks in the study room, viewers will be able to see all of the single-channel videos in the exhibition on demand, view interviews with selected artists, and read additional biographical information about each artist. The video study room will also feature additional videos not on view in the main exhibition. The exhibition will be accompanied by a fully illustrated companion book, California Video: Artists and Histories. Featuring extensive entries on each artist, this volume includes more than three dozen new interviews, as well as video transcripts, rare reprints, historical and interpretive essays, and hundreds of illustrations. California Video is co-organized by the Getty Research Institute and the J. Paul Getty Museum, and is curated by Glenn Phillips, senior projects specialist and consulting curator, Department of Contemporary Programs and Research, Getty Research Institute. # # # MEDIA CONTACT: Rebecca Taylor Getty Communications 310-440-6427 [email protected] The J. Paul Getty Trust is an international cultural and philanthropic institution devoted to the visual arts that features the J. Paul Getty Museum, the Getty Research Institute, the Getty Conservation Institute, and the Getty Foundation. The J. Paul Getty Trust and Getty programs serve a varied audience from two locations: the Getty Center in Los Angeles and the Getty Villa in Malibu. Visiting the Getty Center: The Getty Center is open Tuesday through Thursday and Sunday from 10 a.m. to 6 p.m., and Friday and Saturday from 10 a.m. to 9 p.m. It is closed Monday and major holidays. Admission to the Getty Center is always free. Parking is $8. No reservation is required for parking or general admission. Reservations are required for event seating and groups of 15 or more. Please call 310-440-7300 (English or Spanish) for reservations and information. The TTY line for callers who are deaf or hearing impaired is 310-440- 7305. Additional information is available at www.getty.edu. Sign up for e-Getty at www.getty.edu/subscribe to receive free monthly highlights of events at the Getty Center and the Getty Villa via e-mail, or visit www.getty.edu for a complete calendar of public program. .
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Protest » Video- Collage
    FemLink, the International Videos-Collage LIST OF VIDEOS in THE « PROTEST » VIDEO- COLLAGE 26 videos - 50 min. The videos inccluded in the collage was created for FemLink 01 - IT’S JUST A GAME, Maria Rosa Jijon (Ecuador) The word Game is indeed a trap: not only translates into play but, above all, in prey. In an era apparently facilitated by the invasion of computers and machines, the reality is that everything looks, more and more, like the locations of Orwell’s 1984. The removal of spatio- temporal boundaries is just a consolation prize, because the customs continue to exist and overcome them is always crooked at least as to live as emigrants once exceeded. Ilaria Giordano Drome Magazine CREDITS : Music: Mario Bross 02 - OVERFLOW. A NOTE OF SUICIDE, Sara Malinarich (Chile) A woman sacrifices herself in a technological scene, in front of virtual witnesses and streets coexisting in time in different places. The screen is the suicide note, the physical support of a protest that overflows through an invisible mechanics that activates the self-destruction sequence. It is the suicide note that burns and sets fire to the woman, becoming the bonfire of her protests. 'Overflow' is a videocreation made in real-time with automated machines and telepresence systems (and a veiled tribute to José Val del Omar.) Credits: Cast: CAROLINA PRIEGO. Technical Management: MANUEL TERÁN. Photography: MAKU LÓPEZ. Edition, Postproduction & Graphics: JORGE RUIZ ABÁNADES. 3D Motion: FRANÇOIS MOURRE. Music: EN BUSCA DEL PASTO Note: The audio of this piece is in Dia-phonic system, created by José Val del Omar in 1944.
    [Show full text]
  • 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.
    [Show full text]
  • High Performance Magazine Records
    http://oac.cdlib.org/findaid/ark:/13030/kt5p30369v Online items available Finding aid for the magazine records, 1953-2005 Finding aid for the magazine 2006.M.8 1 records, 1953-2005 Descriptive Summary Title: High Performance magazine records Date (inclusive): 1953-2005 Number: 2006.M.8 Creator/Collector: High Performance Physical Description: 216.1 Linear Feet(318 boxes, 29 flatfile folders, 1 roll) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: High Performance magazine records document the publication's content, editorial process and administrative history during its quarterly run from 1978-1997. Founded as a magazine covering performance art, the publication gradually shifted editorial focus first to include all new and experimental art, and then to activism and community-based art. Due to its extensive compilation of artist files, the archive provides comprehensive documentation of the progressive art world from the late 1970s to the late 1990s. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical/Historical Note Linda Burnham, a public relations officer at University of California, Irvine, borrowed $2,000 from the university credit union in 1977, and in a move she described as "impulsive," started High
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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,
    [Show full text]
  • EXHIBITION ANNOUNCEMENT Bill Viola: the Raft
    EXHIBITION ANNOUNCEMENT Hilliard University Art Museum University of Louisiana at Lafayette 710 East Saint Mary Blvd. Lafayette, LA 70503 Jolie Johnson, Marketing Manager [email protected] (337) 482-6060 Bill Viola: The Raft Exhibition Dates: Feb 3 – May 12, 2018 Reception: Fri, Feb 23, 6:00-8:00 PM The Hilliard University Art Museum’s spring 2018 season features two new exhibitions by artists who explore themes of spirituality, memory and the human form. It pairs the works of Breaux Bridge based photographer Lynda Frese with an immersive video installation by Bill Viola, who is based in Long Beach, California. Bill Viola. The Raft, 2004. Color High-Definition video The Raft by Bill Viola is part of a special exhibition series on projection with sound. 10 minutes, 33 seconds. Image the museum’s second floor that is focused on historically courtesy the artist and James Cohan Gallery, New York. significant film and video artists. Offering an opportunity to carefully study the medium, each work in this series is presented over the course of many months in a dedicated black box. This programming is internationally diverse, and over the course of one year it features three artworks produced for the single-channel video format. Active since the early 1970s as a pioneer of the genre, Bill Viola has been instrumental in the establishment of video as a vital form of contemporary art. For 45 years he has created videotapes, architectural video installations, sound environments, electronic music performances, flat panel video pieces, and works for television broadcast. Viola’s video installations—total environments that envelop the viewer in image and sound—employ state-of-the- art technologies and are distinguished by their precision and direct simplicity.
    [Show full text]