Crime Time Comix

Total Page:16

File Type:pdf, Size:1020Kb

Crime Time Comix "I haven't used the steel in a long time. ..the time has ". ..the pluse test : feel for pulse. There is none ." "Man in office .. holding a package .. .two windows come." behind him . .apprehension. ..Iittletoo dramatic .. ." CRIME TIME COMIX: STEEL & GUN SHOW ED HENDERSON SUGGESTS FLESH (198015 :30 color) SOUND TRACKS FOR (198012:00 color) PHOTOGRAPHS JULES BACKUS & WILLIAM (1973 30:00 B/W) DANA ATCHLEY, HANK BULL FARLEY & ERIC METCALFE San Francisco, California JOHN BALDESSARI Crested Butte, Colorado/Vancouver, Santa Monica, California British Columbia "Bill Farley is a Bay Area artist and independent filmmaker whose work has been shown na- A painter until the mid-sixties, since then he Dana Atchley is an independent producer tionally and internationally . Jules Backus is an has worked in a wide variety of media. He has whose company, Network TV, has artist and independent video producer whose been making video tapes since 1970. Currently documented numerous art performances and work has been shown nationally and interna- teaching at California Institute for the Arts. activities such as those of Willie Walker and tionally ." Lowell Darling's run for governor of California . SUGGESTS is a collaborative attempt to find Eric Metcalfe is a Canadian artist based at the A short, impressionistic profile of some of the appropriate sound/musical effect for random Western Front in Vancouver . Steel & Flesh was people who attended the California Gun Show photographs, an effort to create a harmonious produced with funds provided by the Canada in L.A . in May, 1980 . At the last minute, the marriage between the two . Council and the National Endowment for the video crew was denied access to the show by Arts. the sponsors who felt threatened by adverse publicity . As a result, the tape does not show ". ..a highly-polished, fetish laden drama the over 2000 booths and displays, but does focusing on Metcalfe's teenage detective- succeed in reflecting certain of the per- comic fantasies . The work successfully defuses sonalities . its inherent voilence but fortunately never over= comes the sense of decadent viciousness that forms the core of the narrative ." - David Ross "The new red banner for now is polyester." THURSDAY MORNING BOBS SCRATCH MESSAGE TO CHINA (1980 25 :00 color) (1980 6:00 color) (1979 23 :00 color) BOB & BOB ANTE BOZANICH SUSAN BRITTON Los Angeles, California Los Angeles, California Toronto, Ontario, Canada Performance artists in Los Angeles, Bob & Bob Ante is a Los Angeles artist currently working BFA Nova Scotia College of Art and Design. have worked as a duo for the past five years . with video. He is a recipient of a 1979 NEA Presently living in Toronto concentrating on They are best known, aside from their live grant and a past recipient of a Ford Foundation new work. Video tapes and photographs have work, for their drawings, writing and travel grant. been widely exhibited throughout Canada, in videotapes. New York and Europe . Her tape CASTING 'SCRATCH is an attempt to relieve the con- CALL is in the Bienalle de Paris. "The two Bobs are seen sitting on a couch next tinuous irritations and tensions our contem- to each other. Every thirty seconds the porary environment infects us with ." -A .B . "The dialectic works in mysterious ways. A wit- background music changes . One of the Bobs is ty and ironic piece commemorating the vice- perpetually pleasant and happy while the other premiere's celebrated visit to the U.S. The is anxious, perturbed and bothered . .It is a senile American future is looking bright, and videotape about the way people relate to hav- the bourgoisie make excellent teachers, but ing an environment thrust upon them ." - David first, those who own the forces of production Ross want to know, 'Will that be cash .. .or Charge- BIG WRENCH ABSTRACT CITY WINDOWS TELLING TALES (197915 :00 color) (1980 6:30 color) (1979 27:00 color) CHRIS BURDEN JACK CAMPBELL ELIZABETH CHITTY Los Angeles, California Berkeley, California Toronto, Ontario/Vancouver, B.C., Canada Lecturer at UCLA, 1978. NEA, Visual Arts, The artist has been making videotapes for three 1980-81, 1976-77, 1974-75. Guggenheim years and is currently an engineer at Television Elizabeth is primarily a performance artist Fellowship, Conceptual Art, 1978-79. Associates . working occasionally with video. Created live at the studios of KTSF-TV, San The work combines two ideas the artist is in- Produced at Vancouver's Western Front during Francisco as part of the series Produced For terested in: one is time, playing with showing Chitty's 1979 residency there. "Beginning with Television (produced by La Mamelle), BIG two time frames of a single situation the written word...and including many of the WRENCH relates the tale of Burden's obsession simultaneously . The other is the abstract effect implements of information storage available in with a 16,000 pound freight truck. The tape which has been achieved after two years of our culture .. .TELLING TALES illustrates that takes us through the story, which is true, from work toward that end . process and enables us to receive the abun- the time the artist obtains the rig to its eventual dance of narrative information in our lives with sale. heightened awareness ." - Jane Ellison "Does intimacy breed obscurity?" "From 'Finnegan s Wake,' a term now used by "Art is the politics of the impossible." physiciststo denote elemental particles in nature." DELICATE ISSUE QUARKS CAMPAIGN TAPES (197912:00 color) (1980 8:00 color) (1980 30:00 color) KATE CRAIG PETER D'AGOSTINO LOWELL DARLING Vancouver, B.C ., Canada New York City, New York Oakland, California Kate Craig is a Canadian video artist and Video One of the country's more active video and Lowell is an artist who has worked in various Director of the Western Front in Vancouver, performance artists (late of San Francisco and media, employing, as he says, wichever tool is since 1973 an important artist run center for the Wright State University, Dayton, Ohio), Peter needed to get the job done. He has been utiliz- presentation and production of new art activity. has been teaching at the university level since ing video "since it came out ." 1973, is a frequent guest lecturer at various col- The work is an exploration of the artist's body leges, exhibits continuously, and has published Using a hand on a stick to save his grip, and ar- with an extreme close-up lens . The sound track two books: Alpha, Trans, Chung and QUBE tificial lips to kiss babies so he wouldn't get includes 24 voice over questions posed by Kate in addition to many articles. He has received a Pablum all over his new suits, Darling stumped about the idea of closeness, on and off the number of research, travel and NEA grants, and the state for four months in his 1956 pink-and- screen . The tension created by this forced in- is currently working in NYC . black Plymouth, doing whatever it is that politi- timacy poses the question well . cians do. In this long awaited edit (sponsored 'The structure of QUARKS is based on 30- by VIDEO 80) of the various tapes from second intervals, the most common time unit Lowell's campaign, we see the Announcement for TV commercials. Three layers of informa- Speech on the Art Museum lawn in Berkeley, tion - sound, image and written texts - are the infamous Sore Loser speech at Breen's Bar presented within the structure . ..Although this in SF, and footage from the action in between . can be viewed as an analysis or critique of TV, my primary intent is to provide the viewer'with a unique television experience open to many interpertations and possible resolutions ." -P. D.'A. "It's really good to see you. ..you're lookinggreat." SOUND FACTORY GOES TO THE LAST NINE MINUTES THIRD AVENUE: ONLY THE GUISEPPE'S (1977 9:00 color) STRONG SURVIVE (1980 27:00 color) (1980 58:00 color) DOUGLAS DAVIS JASON DAUMAN New York City DOWNTOWN COMMUNITY Beverly Hills, California TV CENTER Davis is an artist, writer and art teacher . As an New York City, New York A recent graduate of Beverly Hills High, with artist, he has worked intensively in video (both no previous training in television, in live telecasting and in closed-circuit museum Jason is the Videotapes produced by DCTV have been seen Host of his own TV Talk Show on and gallery installations), performance, print- Theta Cable by more than 70 million people in more than a in Los Angeles . making and drawing since the mid-60s . dozen countries . In 1979 they had 35 programs broadcast on PBS and NBC. THIRD AVENUE "This kid had the goods. He never let In June, 1977, he joined with Nam June Paik there be a wone first prize at the Atlanta Film Festival. moment of silence, except for punch lines, and Joseph Beuys in creating an extraordinary following every question with another live telecast transmitted via satellite to more ques- Third Avenue runs 16 miles through Brooklyn, tion .. .the perfect replica of a good than 25 countries . The program, which opened television Manhattan, and the Bronx. The lives of six very talk show host." - Ben Stein Documenta 6, concluded with Davis' per- different people who live or work on Third Andy Warholian nightmare, everyone with his formance, THE LAST NINE MINUTES . Ave. are portrayed . Their stories dramatize the own TV show! hard reality of survival in the urban America . "There is more drama, more life, more love and passion in this short hour than in a weeks worth of prime time pot boiling ." - The Washington Post "The effect iscuriously jolting" "...Carter had announced at a White House press gathering, 'Bert, I'm proud of you ."' DESIRE SETS UP AFIRE POLONIUM HOLES AND ENTRANCES (1980 29 :00 color) (198010:00 color) (1980 25:00 B/W) HELEN DE MICHIEL DANIEL DION & PHILIPPE TERRY FOX Salana Beach, California POLONI New York City Montral, Quebec, Canada De Michiel is a graduate of the Masters Pro- One of America's best known performance gram of UC San Diego.
Recommended publications
  • Tate Report 08-09
    Tate Report 08–09 Report Tate Tate Report 08–09 It is the Itexceptional is the exceptional generosity generosity and and If you wouldIf you like would to find like toout find more out about more about PublishedPublished 2009 by 2009 by vision ofvision individuals, of individuals, corporations, corporations, how youhow can youbecome can becomeinvolved involved and help and help order of orderthe Tate of the Trustees Tate Trustees by Tate by Tate numerousnumerous private foundationsprivate foundations support supportTate, please Tate, contact please contactus at: us at: Publishing,Publishing, a division a divisionof Tate Enterprisesof Tate Enterprises and public-sectorand public-sector bodies that bodies has that has Ltd, Millbank,Ltd, Millbank, London LondonSW1P 4RG SW1P 4RG helped Tatehelped to becomeTate to becomewhat it iswhat it is DevelopmentDevelopment Office Office www.tate.org.uk/publishingwww.tate.org.uk/publishing today andtoday enabled and enabled us to: us to: Tate Tate MillbankMillbank © Tate 2009© Tate 2009 Offer innovative,Offer innovative, landmark landmark exhibitions exhibitions London LondonSW1P 4RG SW1P 4RG ISBN 978ISBN 1 85437 978 1916 85437 0 916 0 and Collectionand Collection displays displays Tel 020 7887Tel 020 4900 7887 4900 A catalogue record for this book is Fax 020 Fax7887 020 8738 7887 8738 A catalogue record for this book is available from the British Library. DevelopDevelop imaginative imaginative education education and and available from the British Library. interpretationinterpretation programmes programmes AmericanAmerican Patrons Patronsof Tate of Tate Every effortEvery has effort been has made been to made locate to the locate the 520 West520 27 West Street 27 Unit Street 404 Unit 404 copyrightcopyright owners ownersof images of includedimages included in in StrengthenStrengthen and extend and theextend range the of range our of our New York,New NY York, 10001 NY 10001 this reportthis and report to meet and totheir meet requirements.
    [Show full text]
  • Bibliography
    BIbLIOGRAPHY 3er salón Swift de grabado. 1970. Exhibition catalogue, September 9–27. Buenos Aires: The Museum of Modern Art. Adorno, Theodor. 1975 [1967]. Culture industry reconsidered. New German Critique 6: 12–19. AdSII. 1972a. Arte e ideología en CAYC al aire libre. Exhibition brochure. Buenos Aires: Centro de Arte y Comunicación. International Center for the Arts of the Americas at the Museum of Fine Arts, Houston (ICAA) Documents no. 761671. AdSII. 1972b. Glusberg, Jorge. Arte e ideología en CAYC al aire libre. Exhibition brochure. Buenos Aires: Centro de Arte y Comunicación. International Center for the Arts of the Americas at the Museum of Fine Arts, Houston (ICAA) Documents no. 747360. AdSII. 1972c. Ficha de obra de los artistas de la exhibición arte de sistemas II del Centro de Arte y Comunicación (CAYC). Exhibition catalogue. Buenos Aires: CAyC, September. International Center for the Arts of the Americas at the Museum of Fine Arts, Houston (ICAA) Documents no. 761701. Althusser, Louis. 1971 [1970]. Ideology and ideological state apparatuses. In Lenin and philosophy and other essays, 121–176. Trans. Ben Brewster. London: NLB. Arnatt, Keith. 1989. “Keith Arnatt transport to another world”. Interview with Michael Craig-Smith. Creative Camera 6: 18–28. Arnatt, Keith. 1997. Interview with John Roberts. In The impossible document: Photography and conceptual art in Britain 1966–1976, ed. John Roberts, 47–53. London: Camerawork. Art & Language. 1991. Hostages XXV–LXXVI, exhibition catalogue, March 15– April 12. London: Lisson Gallery. © The Author(s) 2016 235 E. Kalyva, Image and Text in Conceptual Art, DOI 10.1007/978-3-319-45086-5 236 BibliOgraPhY Art & Language.
    [Show full text]
  • From Squatting to Tactical Media Art in the Netherlands, 1979–1993
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 5-2019 Between the Cracks: From Squatting to Tactical Media Art in the Netherlands, 1979–1993 Amanda S. Wasielewski The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3125 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] BETWEEN THE CRACKS: FROM SQUATTING TO TACTICAL MEDIA ART IN THE NETHERLANDS, 1979–1993 by AMANDA WASIELEWSKI A dissertation submitted to the Graduate Faculty in Art History in partiaL fulfiLLment of the requirements for the degree of Doctor of PhiLosophy, The City University of New York 2019 © 2019 AMANDA WASIELEWSKI ALL Rights Reserved ii Between the Cracks: From Squatting to TacticaL Media Art in the Netherlands, 1979–1993 by Amanda WasieLewski This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the dissertation requirement for the degree of Doctor of PhiLosophy. Date David JoseLit Chair of Examining Committee Date RacheL Kousser Executive Officer Supervisory Committee: Marta Gutman Lev Manovich Marga van MecheLen THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Between the Cracks: From Squatting to TacticaL Media Art in the Netherlands, 1979–1993 by Amanda WasieLewski Advisor: David JoseLit In the early 1980s, Amsterdam was a battLeground. During this time, conflicts between squatters, property owners, and the police frequentLy escaLated into fulL-scaLe riots.
    [Show full text]
  • La Mamelle and the Pic
    1 Give Them the Picture: An Anthology 2 Give Them The PicTure An Anthology of La Mamelle and ART COM, 1975–1984 Liz Glass, Susannah Magers & Julian Myers, eds. Dedicated to Steven Leiber for instilling in us a passion for the archive. Contents 8 Give Them the Picture: 78 The Avant-Garde and the Open Work Images An Introduction of Art: Traditionalism and Performance Mark Levy 139 From the Pages of 11 The Mediated Performance La Mamelle and ART COM Susannah Magers 82 IMPROVIDEO: Interactive Broadcast Conceived as the New Direction of Subscription Television Interviews Anthology: 1975–1984 Gregory McKenna 188 From the White Space to the Airwaves: 17 La Mamelle: From the Pages: 87 Performing Post-Performancist An Interview with Nancy Frank Lifting Some Words: Some History Performance Part I Michele Fiedler David Highsmith Carl Loeffler 192 Organizational Memory: An Interview 19 Video Art and the Ultimate Cliché 92 Performing Post-Performancist with Darlene Tong Darryl Sapien Performance Part II The Curatorial Practice Class Carl Loeffler 21 Eleanor Antin: An interview by mail Mary Stofflet 96 Performing Post-Performancist 196 Contributor Biographies Performance Part III 25 Tom Marioni, Director of the Carl Loeffler 199 Index of Images Museum of Conceptual Art (MOCA), San Francisco, in Conversation 100 Performing Post-Performancist Carl Loeffler Performance or The Televisionist Performing Televisionism 33 Chronology Carl Loeffler Linda Montano 104 Talking Back to Television 35 An Identity Transfer with Joseph Beuys Anne Milne Clive Robertson
    [Show full text]
  • Laura Mulvey and Peter Wollen
    Laura Mulvey and Peter Wollen: Theory and Practice, Aesthetics and Politics, 1963-1983 Nicolas Helm-Grovas Royal Holloway, University of London PhD, Media Arts 1 Declaration of Authorship I, Nicolas Helm-Grovas, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. 15 January, 2018 2 Abstract This PhD is a genealogy and critical examination of the writings and films of Laura Mulvey and Peter Wollen, spanning the period from the early 1960s to 1980s. Despite the prominence of their texts, there has not been a book-length study of either body of writing, nor an overview of their overlap and mutual influence, in what was their most productive period. Nor has there been an extended account of the important connection between their theory and their practice as filmmakers. My thesis undertakes these tasks. I interpret and challenge existing scholarship, while simultaneously examining in detail for the first time lesser-known works, drawing on archives and interviews. Through close readings I elucidate Mulvey’s interrogation of the patriarchal fantasies structuring cinematic and artistic forms and her feminist appropriation of classical Hollywood melodrama; I map the related issues Wollen’s texts activate, of cinematic signification and materialism, the buried potentialities of the historical avant-gardes, and their connection to the avant-garde film contemporaneous with his writings. Their moving image works, I demonstrate through detailed analyses, bring these ideas into dialogue and work them through in a more open, exploratory vein. I trace key notions like ‘counter cinema’ across films and writings by both authors.
    [Show full text]
  • Nam June Paik Papers
    Nam June Paik Papers A Preliminary Finding Aid Kathleen Brown, with additions and revisions by Christine Hennessey and Hannah Pacious This collection was processed with support from the Smithsonian Collection Care and Preservation Fund. 2012 Smithsonian American Art Museum, Research and Scholars Center PO Box 37012, MRC970 Washington, D.C. 20013-7012 http://www.americanart.si.edu/research/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Scope and Contents........................................................................................................ 2 Arrangement..................................................................................................................... 3 Biographical note............................................................................................................. 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Biographical Material, circa 1957-1999..................................................... 5 Series 2: Correspondence, 1959-2006.................................................................... 6 Series 3: Financial and Legal Records, circa 1966
    [Show full text]
  • Documenta (13) Facts and Rumors
    dOCUMENTA (13) Facts and Rumors 1. Initiated by arts educator and designer Arnold Bode, the first edition of documenta opened in Kassel on July 16, 1955 and ran through September 18 of that year. 2. documenta means “lessons” in Latin (nominative plural of documentum). Latin is considered a “dead language” today. However, at the Vatican City it is used as the official language for all communications. [“documenta.Nominative plural of Latin documentum: lesson, example, warning; medieval Latin: instruction, official paper. (...) Documentum comes from 1) Lat. docere: to teach, instruct, inform, also to show and to tell; 2) Lat. mens: the intellectual faculties, the mind, understand, and also used figuratively as the soul or spirit of something. ‘The chief aim of the venture (documenta) was to instruct people’s minds (docere mentis),’ in the words of Ernst Schuh, Arnold Bode's assistant at the first documenta.”] 3. Every 1,726 days, documenta takes place for 100 days. 4. 100 is a symbolic number for documenta: Arnold Bode called it “The Museum of 100 Days”; Joseph Beuys produced his “100 Day Office for Direct Democracy” for documenta 5 (1972) and Harald Szeemann called it “a 100-day event”; Catherine David organized “100 Days 100 Guests” for documenta X (1997), and dOCUMENTA (13) will publish “100 Notes – 100 Thoughts.” 5. The number of documenta visitors has constantly increased: from 130,000 in 1955 to 754,301 in 2007. We do not know if they know it, or if it really matters. 6. Victor Vasarely, who participated in documenta 3 (1964) and died in 1997, claimed he was born in 1705.
    [Show full text]
  • 1 Sol Lewitt One-Art#DF1DB4
    SOL LEWITT SELECTED ONE-ARTIST EXHIBITIONS Born, Hartford, Connecticut, 1928 B.F.A., Syracuse University, 1949 Died, New York, New York, 2007 1965 John Daniels Gallery, New York, May 4–29, 1965. 1966 Dwan Gallery, New York, April 1–29, 1966. 1967 Dwan Gallery, Los Angeles, May 10–20, 1967. 1968 Galerie Konrad Fischer, Düsseldorf, January 6–February 3, 1968. Dwan Gallery, New York, February 3–28, 1968. Galerie Bischofberger, Zürich, February 8–March 14, 1968. Galerie Heiner Friederich, Munich, February 13–March 8, 1968. 1968–1969 Ace Gallery, Los Angeles, December 2, 1968–January 11, 1969. (Catalogue) 1969 Galerie Konrad Fischer, Düsseldorf, April 22–May 16, 1969. Galleria L'Attico, Rome, May 2–20, 1969. Galerie Ernst, Hannover, Germany Wall Drawings, Dwan Gallery, New York, October 4–30, 1969. Sol LeWitt: Sculptures and Wall Drawings, Museum Haus Lange, Krefeld, Germany, October26–November 30, 1969. (Catalogue) Galerie Bischofberger, Zürich 1970 Art & Project, Amsterdam, opened January 2, 1970. Wisconsin State University, River Falls, April 14–May 8, 1970. Galerie Yvon Lambert, Paris, June 4–27, 1970. Wall Drawings, Galleria Sperone, Turin, June 12–28, 1970. Dwan Gallery, New York Lisson Gallery, London, June 15–July 24, 1970. Gemeentemuseum, The Hague, July 25–August 30, 1970. (Catalogue) Galerie Heiner Friederich, Munich, September 1970. 1970–1971 Pasadena Art Museum, California, November 17, 1970–January 3, 1971. (Catalogue) 1971 Art & Project, Amsterdam, opened January 4, 1971. Wall Drawings, Protetch-Rivkin Gallery, Washington, D.C., opened April 17, 1971. Prints and Drawings, Dwan Gallery, New York, May 1–26, 1971. Lisson Gallery, London, June 1971.
    [Show full text]
  • Sfmoma.Org Libby Garrison, 415.357.4177, [email protected] Sandra Farish Sloan, 415.357.4174, [email protected]
    For Immediate Release June 15, 2008 Contact: Robyn Wise, 415.357.4172, [email protected] Libby Garrison, 415.357.4177, [email protected] Sandra Farish Sloan, 415.357.4174, [email protected] SFMOMA PRESENTS MAJOR OVERVIEW OF PARTICIPATION-BASED ART On view at the San Francisco Museum of Modern Art (SFMOMA) from November 8, 2008, through February 8, 2009, The Art of Participation: 1950 to Now presents an overview of the rich and varied history of participatory art practice during the past six decades, exploring strategies and situations in which the public has taken a collaborative role in the art- making process. Organized by SFMOMA Curator of Media Arts Rudolf Frieling, this large thematic presentation gathers more than 70 works by some 50 individual artists and collectives, and will feature projects both on-site and online, as well as several new pieces commissioned specifically for the exhibition. From early performance-based and conceptual art to online works rooted in the multiuser dynamics of Web 2.0 platforms, The Art of Participation reflects on the confluence of audience interaction, utopian Erwin Wurm, One Minute Sculptures politics, and mass media, and reclaims the museum as a space for two- (detail), 1997; photo: Kuzuyuki Matsumoto; © 2008 Artists Rights Society way exchange between artists and viewers. (ARS), New York / VBK, Vienna The exhibition proposes that participatory art is generally based on a notion of indeterminacy—an openness to chance or change, as introduced by John Cage in the early 1950s—and refers to projects that, while initiated by individual artists, can be realized only through the contribution of others.
    [Show full text]
  • Fit to Print May 1 – June 30, 2021
    FOR IMMEDIATE RELEASE April 20, 2021 CONTACT: Mikaela Hawk, [email protected] Fit to Print May 1 – June 30, 2021 PHILADELPHIA, PA – (April 20, 2021) The Print Center is pleased to present Fit to Print, an online exhibition which explores the use of newspapers in art from the post-war era to the present day. It addresses how artists work with the medium of newsprint as a nexus where the studio, everyday life and current events perennially merge and collide. This exploration is particularly timely in an age when truth in news is fractured and suspect, due to the proliferation of sensationalist stories pitted against traditional sources of journalism. Fit to Print features Lisa Blas, Jennifer Bolande, Chryssa, Laura Fields, Jef Geys, Beatriz González, Helena Hernmarck, Rita Maas, Dan Perjovschi, Donna Ruff, Soledad Salamé and Paul Thek. The works of these twelve modern and contemporary artists reveal slippages between everyday life and what is depicted and recounted on the printed, published page. In this exhibition, they present visual spaces of rupture as sites for re-inscription, socio-political critique and material transformation. In each artwork, image and language oscillate, stretching notions of time and triggering memories. The urgency and implications of our engagement with the news is highlighted, asking viewers, “What do you read, what do you retain, what do you share?” Lisa Blas, First(s), Monday’s image, v. 2, Fit to Print is inspired by the legacy of artists who have harnessed the 2021, dye sublimation print, 40” x 32”. Courtesy of the Artist potency of newspaper’s form and surface.
    [Show full text]
  • (Veneklasen/Werner) Is Pleased to Present Shakers & Movers, a Group Exhibition, Curated by Birte Kleemann, Which Explores
    VW (VeneKlasen/Werner) is pleased to present Shakers & Movers, a group exhibition, curated by Birte Kleemann, which explores performance art and actions within the context of the political situation in Germany during the 1960s and 1970s. Shakers & Movers includes works by Mary Bauermeister, Joseph Beuys, Sylvano Bussotti, James Lee Byars, John Cage, VALIE EXPORT, Jürgen Klauke, Yoko Ono, Nam June Paik, Karlheinz Stockhausen and Ulay. The post-World War II period saw the development of new approaches to artistic expression and political activism. The new generation of artists emerging in West Germany experimented with performance and collaboration and incorporated media from beyond the traditional boundaries of studio practice, such as sound and film. One consequence of this new approach was an increasing awareness of the body as a tool both for expression and criticism within the public realm. A new identity of the artist is asserted in which the self is measured in the interaction with the other, both mirroring and questioning societal norms. Within the context of social and political developments in the young democratic Germany, and against the backdrop of a lingering Cold War, the exploration of new territories in art, literature, theater and music are a form of Brechtian catharsis.Shakers & Movers presents a brief and selected history of the performances and actions triggered by renewed social awareness in an era of lost innocence. Shakers & Movers takes as its starting point the beginnings of the Fluxus movement and the multimedia “happenings” created at Mary Bauermeister’s studio, the most important of these being the Originale, composed by Karlheinz Stockhausen.
    [Show full text]
  • Noordegraaf DEF.Indd 1 08-01-13 14:33 FRAMING FILM
    FRAMING ET AL. (EDS.) NOORDEGRAAF JULIA NOORDEGRAAF, COSETTA G. SABA, FILM BARBARA LE MAÎTRE, VINZENZ HEDIGER (EDS.) PRESERVING AND EXHIBITING MEDIA ART PRESERVING AND EXHIBITING MEDIA ART Challenges and Perspectives This important and fi rst-of-its-kind collection addresses the Julia Noordegraaf is AND EXHIBITING MEDIA ART PRESERVING emerging challenges in the fi eld of media art preservation and Professor of Heritage and exhibition, providing an outline for the training of professionals in Digital Culture at the Univer- this fi eld. Since the emergence of time-based media such as fi lm, sity of Amsterdam. video and digital technology, artists have used them to experiment Cosetta G. Saba is Associate with their potential. The resulting artworks, with their basis in Professor of Film Analysis rapidly developing technologies that cross over into other domains and Audiovisual Practices in such as broadcasting and social media, have challenged the tradi- Media Art at the University tional infrastructures for the collection, preservation and exhibition of Udine. of art. Addressing these challenges, the authors provide a historical Barbara Le Maître is and theoretical survey of the fi eld, and introduce students to the Associate Professor of challenges and di culties of preserving and exhibiting media art Theory and Aesthetics of through a series of fi rst-hand case studies. Situated at the threshold Static and Time-based Images at the Université Sorbonne between archival practices and fi lm and media theory, it also makes nouvelle – Paris 3. a strong contribution to the growing literature on archive theory Vinzenz Hediger is and archival practices. Professor of Film Studies at the Goethe-Universität Frankfurt am Main.
    [Show full text]