(Image sourced from Seventeen Gallery's exhibition "SCRATCH!")
I first discovered video artist George Barber's work via a review of his DVD BEYOND LANGUAGE on LUX by Ed Halter in Artforum last year. Associated with the Scratch Video movement, Barber's witty appropriation of mainstream movies and television as well as his fast-paced editing techniques resonated with many of the YouTube mash-ups I've seen, and his work was clearly pioneering for what has now become a fairly widespread approach. Today I will post up a number of Barber's videos, spanning the last few decades of his career.
Katie Paterson is an artist whose work spans installation, sculpture, transmission, and sound. Her work presents the viewer with a deeper sense of the passage of time and the evolution of nature and the cosmos. Technology often factors into this line in her practice, where it is used to bring about an awareness of its own restrictions as well as our limited ability to sense and experience natural cycles and movement. She is currently showing History of Darkness in the group exhibition “Cage Mix” at BALTIC Centre for Contemporary Art in Gateshead, up until September 19, 2010. Her series "Every Night About This Time" also opens this weekend at the Whitstable Biennale.
Video artist and community access television personality Jaime Davidovich will host Adventures of the Avant-Garde at the Anthology Film Archives next Thursday, May 13th. Co-sponsored by Anthology Film Archives and Electronic Arts Intermix, the event promises a guided "eye-popping art-historical tour" through 20th century radical art and television, which will be rounded off with a screening of two early video works by Davidovich, INTERIORS (1976) and ADVENTURES OF THE AVANT GARDE (1981). If you weren't able to catch Davidovich's exhibit at Cabinet a few months ago, this evening is another good opportunity to experience Davidovich's showmanship and humor.
The reading of the verdict in the trial of OJ Simpson. Using sound from the actual TV footage - only one camera was allowed in the courtroom - and reducing movement to a minimum of changes in facial expression, Ezawa's animation heightens the racial implications of the trial and the cynicism of the verdict.
Ezawa meticulously recreates, frame-by-frame, animated sequences from television, cinema, and art history using basic digital drawing and animation software. His aesthetic is a highly stylized mixture of Pop Art, Alex Katz, and paint-by-numbers pictures, to name but a few of his stylistic antecedents. This painstaking process creates an in intriguing facsimile of the source material, which include the Kennedy assassination, the O.J. Simpson trial, and clips from the film Who's Afraid of Virginia Wolf? (1966) .
The supreme discipline of art - oil painting - is back. It has been 13 days since a BP oil and gas exploration well blew out, setting fire to the drilling rig, which sank, killing 11 people. Ever since, crude oil has been leaking into the Gulf of Mexico, raising the prospects of a historic environmental disaster. Winds from the southeast have nudged the slick northward, where it floated Saturday near the coasts of Louisiana, Alabama and Mississippi and has begun to paint the coastlines.
Finally oil painting has evolved into generative bio-art, a dynamic process the world audience can watch live via mass media. Never before has this art form been as relevant and visible as today - only 9-11 was nearly as perfect, but in the genre of performance art. An oil painting on a 80.000 square miles ocean canvas with 32 million liters of oil - a unique piece of art.
We exclusively use aerial images from the oil spill. The files are ready-mades but we waived our right to use them "as is" and decided to use a special digital technique to produce a statement about the disconnection of form and color and about contemporary and futuristic imaging procedures. We use a compressor (sorenso codec) and consumer video editing-software and manually loop 2 frames, the image becomes liquid, transforms and deforms. These visualisations represent the "Verkuenstlichung" of nature and the "Vernatuerlichung" of art. Unedited oil-paintings of the event can be found via search-engines, on boston.com or on the NASA Earth Observatory website.
The imagery and sound in Entering were performed 'live' by Donebauer and composer Simon Desorgher, and recorded in real time, using a colour TV studio at the Royal College of Art. Later Donebauer and Richard Monkhouse developed the Videokalos synthesiser, as an image-sound performance instrument. Entering was transmitted by the BBC in 1974.
Doctor Who? Cops? House Music? Yes - all of these seemingly disparate things will come together under the same roof in a screening organized by artist Paul Slocum at Light Industry in Brooklyn on Tuesday, April 6th at 7:30pm. The program will begin with a fan restoration of a lost episode of Doctor Who, "The Tenth Planet," followed by a premiere of Slocum's new work Cops with House Music, which sets an episode of Cops to a house mix. While "The Tenth Planet" exists as a strange artifact of fan culture, where Doctor Who buffs re-enact the script through a montage of captured television footage and stills from the show, Cops with House Music is a reflection on two genres emergent from the late 80s -- reality TV and house music -- which continue to prevail in popular culture today.
Digital Arts and New Media (DANM) Technical Coordinator