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New Artists, New Titles is EAI's online resource for information on artists and works that have recently been added to EAI's collection.
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New Artists | New Titles | New Series | Printable Catalogues |
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Cory Arcangel/Beige Cory Arcangel is an artist and performer who works with early computers, the Internet and video game systems. He is best known for his Nintendo game cartridge hacks and his reworking of obsolete computer systems of the 1970s and '80s, such as the Commodore 64 and Atari 800. Arcangel often works with art collective/record label Beige, a loosely defined ensemble of artists and programmers who work collaboratively in digital media. Beige has produced videos, Web projects, albums of electronic music, and modified Nintendo video game cartridges. |
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Michael Bell-Smith Michael Bell-Smith uses digital forms to explore popular culture and how it is mediated through popular technologies. His work often incorporates the visual vocabulary of the Internet, such as animated gifs and lo-res images, and references the aesthetics and semiotics of common computer programs such as Powerpoint and Web sites such as YouTube. Remixing and reinterpreting sources ranging from industrial videos and music clips to classic cinema and contemporary art, Bell-Smith reconsiders the cultural meaning of these materials in a "post-personal computer, post-Internet, post-Google" age. |
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Bernadette Corporation Since 1994, the anonymous, international group of artists known as Bernadette Corporation has explored strategies of cultural resistance and détournement, appropriating contemporary entertainment modes for their own experimental purposes. From the New York-based BC fashion label, which garnered a cult following in the 1990s, and the magazine Made In USA, launched in 1999, to the collectively-authored novel Reena Spaulings (Semiotexte, 2005) and videos starring the likes of Sylvère Lotringer and Chloe Sevigny, Bernadette Corporation's interventionist projects amount to a precisely-calibrated critique of a global culture that constructs identity through consumption and branding. |
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General Idea The artist collective General Idea - AA Bronson, Felix Partz and Jorge Zontal - forged a unique conceptual practice that deployed parody and irony to critique the artworld and popular media culture. In performances, installations, video, photography, prints, and editions, they explored social phenomena ranging from the production, distribution and consumption of mass media images to gay identity and the AIDS crisis. General Idea worked together from 1969 until the deaths of Partz and Zontal in 1994. |
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Nancy Holt A pioneer of earthworks and public art, Nancy Holt has also worked in sculpture, installation, film, video, and photography for over three decades. She is best known for her large-scale environmental sculptural works, including Sun Tunnels in Utah and Dark Star Park in Virginia. In the late 1960s and early 1970s, Holt made a series of pioneering film and video works, including several collaborations with Robert Smithson. Holt's early videos explore perception and memory through experiments with point of view and process. |
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JODI Internet provocateurs JODI pioneered Web art in the mid-1990s. Based in The Netherlands, JODI (Joan Heemskerk and Dirk Paesmans) were among the first artists to investigate and subvert conventions of the Internet, computer programs, and video and computer games. Radically disrupting the very language of these systems, including interfaces, commands, errors and code, JODI stages extreme digital interventions that destabilize the relationship between computer technology and its users. |
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Shana Moulton Shana Moulton creates evocatively oblique narratives in her video and performance works. Combining an unsettling, wry humor with a low-tech, Pop sensibility, Moulton plays a character whose interactions with the everyday world are both mundane and surreal, in a domestic sphere just slightly askew. As her protagonist navigates the enigmatic and possibly magical properties of her home decor, Moulton initiates relationships with objects and consumer products that are at once banal and uncanny. |
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Takeshi Murata Takeshi Murata produces abstract digital works that refigure the experience of animation. Creating Rorschach-like fields of seething color, form and motion, Murata pushes the boundaries of digitally manipulated psychedelia. With a powerfully sensual force that is expressed in videos, loops, installations, and electronic music, Murata's synaesthetic experiments in hypnotic perception appear at once seductively organic and totally digital. |
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Seth Price Seth Price's multi-disciplinary art practice has gained an international following. In conceptual works that include video, sculpture, and what Price has called "redistribution," involving sound, music, and written texts, he engages in strategies of appropriation, recirculation and packaging to consider issues of cultural production, the distribution of information, and the role of ideology. Shifting and manipulating the detritus of commodity culture, his projects have included early sampler-based academic music, anonymous Internet-circulated video, and art historical imagery. Investigating the cultures generated and re-circulated by mass media technologies and information systems, Price ultimately questions the production and dissemination of art and meaning itself. He is also part of the Continuous Project collective. |
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Robert Smithson Robert Smithson is recognized as one of the most influential artists of the twentieth century. Smithson, who was born in 1938 and died in 1973, was a seminal figure in the art form that became known as earthworks or land art. He radically redefined notions of sculpture through his writings and projects. Among his most important and well-known works are Spiral Jetty (1970), a monumental earthwork located in the Great Salt Lake, Utah, and Partially Buried Woodshed (1970) at Kent State University in Ohio. Smithson's critical writings have had an equally profound impact on contemporary art and theory. |
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Ryan Trecartin Ryan Trecartin is one of the most innovative young artists working with video today. Trecartin's fantastical video narratives seem to be conjured from a fever dream. Collaborating with an ensemble cast of family and friends, the 25-year-old Trecartin merges sophisticated digital manipulations with footage from the Internet and pop culture, animations, and wildly stylized sets and performances. While the astonishing A Family Finds Entertainment (2005) has drawn comparisons to Jack Smith, early John Waters, and Pee-Wee's Playhouse, Trecartin crafts startling visions that are thoroughly unique. |
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Lawrence Weiner A key figure in Conceptual Art, Lawrence Weiner has long pursued inquiries into language and the art-making process. From his pioneering installation works of the 1960s and '70s through his new digital projects, Weiner posits a radical redefinition of the artist/viewer relationship and the very nature of the artwork. Translating his investigations into linguistic structures and visual systems across varied formats and manifestations, Weiner has also produced books, films, videos, performances and audio works. |
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414-3-RAVE-95 by Cory Arcangel and Frankie Martin 2004, 4:57 min, b&w;, sound A collaboration between Arcangel and Milwaukee artist Frankie Martin, this work revisits the "rave" dance party phenomenon of the early to mid-1990s. In an act of simulation at once hilarious and incisive, Arcangel and Martin stage what appears to be an amateur, made-for-public-access-television promotional video in which two awkward young men dance before a swiftly changing, video-keyed background composed of the sort of black and white, "infinite-fill" patterns used in digital painting programs of the 1980s. |
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All the Parts from Simon and Garfunkel's 1984 Central Park Performance Where Garfunkel Sings With His Hands in His Pockets Cory Arcangel/Beige 2004, 6:33 min, color, sound Arcangel brings a willfully lo-fi aesthetic to bear in manipulating a consumer video document of a twenty-year-old Simon and Garfunkel concert; his concerns lie as much with the event's reproduction and dissemination as with any of its supposedly original qualities. Investigating the social production of celebrity and its representations, Arcangel touches on issues of bootlegging, amateurism, and a culture in which participation can border on obsession. |
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Beach Boys/Geto Boys Cory Arcangel/Beige 2004, 4:13 min, color, sound Continuing his investigation into the intersection of culture and technology in the context of the hand-made, here Arcangel explores the "mash-up," in which music fans digitally merge two songs to create unexpected hybrids. Arcangel's experiment pushes this practice into the realm of absurdity, pairing wildly different tracks -- live footage of the Beach Boys and a contemporary music video by the rappers Geto Boys -- based on the similarity of their bands' names. |
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You Are My Sister Charles Atlas 2006, 3:30 min, color, sound You Are My Sister is Atlas' video visualization of the song by the acclaimed Antony & the Johnsons. Antony's haunting anthem is paired with Atlas' processed images of thirteen "NYC Beauties," whose close-up portraits turn in hypnotic motion. These images were originally processed and projected live by Atlas for the performance piece Turning, a collaboration with Antony & the Johnsons that merged the artists' distinctive and dramatic styles. |
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19 Universes/my brother Phyllis Baldino 2004, 9:02 min, color, sound 19 Universes/my brother is the latest in a series of videos in which Baldino explores advanced scientific concepts, including nanotechnology and quantum particles. The screen is divided into nineteen shifting strips of video, each portraying Baldino's brother, a musician, as he plays rock and roll guitar; the soundtrack is layered correspondingly. The result is a disorienting composite portrait that explores the phenomenon of parallel universes. |
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Apposites Ottract by Michael Bell-Smith and Karthik Pandian 2005, 3:01 min, color, sound Bell-Smith's re-edit of a 1989 Paula Abdul music video was created from a lo-res Web video, creating a look that references YouTube hobbyist remixing and fan edits. Here he exploits the song's structure not only to call attention to that structure, but also to question the cultural environment in which the work was created. One line of the song - "I like to smoke" - is seamlessly substituted for other lyrics, turning the rote rhetoric of the original pop song into an absurdist dialogue. This subversion allows the entirety of the song (as a cultural object) to be reconsidered. |
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Battleship Potemkin Dance Edit (120 BPM) Michael Bell-Smith 2007, 12:29, b&w;, sound Bell-Smith terms his re-edit of Eisenstein's iconic 1925 film The Battleship Potemkin a "sort of Cliff Notes condensation of the original narrative." He separates the film into its original shots, with each shot sped up or slowed down to the exact same length - one half of a second - and a frame of white added at each cut. The soundtrack was replaced with a minimal, one-second dance-beat loop synced to the cuts. He writes, "The intended effect was to replace the editing schema of the film, obviously iconic in its early use of sophisticated techniques of montage, with a structure that undid that sophistication and replaced it with the 'dumb,' visceral, metric montage favored by dance visuals and music videos." |
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Chapters 1-12 of R. Kelly's Trapped in the Closet Synced and Played Simultaneously Michael Bell-Smith 2005, 4:22 min, color, sound To create this dense pop collage, Bell-Smith overlaid all twelve parts of R. Kelly's soap opera/song cycle, Trapped in The Closet, simultaneously. He writes, "The idea was to take this cultural object and amplify its peculiarity, both in rhythmic and narrative structure, by folding the song and narrative onto itself. Each clip had its transparency modulated such that each shot had equal weight in the mix. The clips were synced rhythmically and lined up at a particular crescendo in the song....This created a natural pyramid effect, where the layers build and then subside." |
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Three Slideshows After Ed Ruscha and The Networked Computer Michael Bell-Smith 2006, 7:07 min, color, silent Writes Bell-Smith: "The idea behind these three pieces was to re-imagine Ed Ruscha's approach to photography and the archive as displayed in his book-work, through the lens of a post-personal computer, post-Internet, post-Google image search age. All three pieces were created in Powerpoint, and play with the awkward rhetoric of Powerpoint design aesthetics. All the images were culled from the Internet." Bell-Smith reinterprets Ruscha's project of documenting and archiving within a new semiotic realm, using a "portfolio of glitches, visual marks of computer error," lo-res images and an online mapping service. |
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Video Created to Fix Stuck Pixels in Computer Monitors Recast (with Soundtrack and Sunset) as Video to Fix Your Stuck Mind Michael Bell-Smith 2005, :45 sec, color, sound Bell-Smith couples a video created to fix stuck pixels in computer monitors (an industrial video akin to a head-cleaning VHS tape, but for LCD screens) with an animation of a sunset and a minimal ambient/psychedelic soundtrack. Bell-Smith playfully interrogates the purported transcendence of psychedelia and New Age techno-hippie-dom. The glitch element of the original readymade recalls stroboscopic video and its potential to "crash" a brain, causing a seizure. Referencing pop cultural representations of brainwashing videos (A Clockwork Orange, Lost), Bell-Smith questions the ability of a video to fix one's mind, the way it might fix an LCD screen. |
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Unfinished by Sophie Calle. In collaboration with Fabio Balducci. 2005, 30:14 min, color, sound Upon receiving a series of photographs taken from an ATM security camera, Calle becomes involved in a perplexing fifteen-year investigation. She manages to steal three surveillance tapes and interacts with strangers, bank employees, and a pawn shop merchant in an attempt to clarify the meaning of money, security, and the anonymous photographs. |
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Show Your Tongue Seoungho Cho 2005, 5:23 min, color, sound The raw material of Show Your Tongue is a document of teeming pond life. Adding an electronic soundtrack and using powerful yet subtle digital manipulation, Cho creates an intense and at times disturbing work that ventures into the potentially dangerous waters of desire, fear, and the unknown. |
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Snap Seoungho Cho 2006, 4:32 min, color and b&w;, sound Snap is a taut, minimalist work that explores the aesthetics of digital video production. Fingers and hands in close-up move fast, then slowly, to a soundtrack of stylized clicks and snaps, while intermittent flares of color burn through the original black and white footage. Snap pushes figure and sound toward abstraction in an inventive, considered, and pleasurable exploration of digital effects. |
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Evil.10 (W2tDotR) Tony Cokes 2005, 7:27 min, color, sound Evil.10 features an excerpt from Slavoj Zizek's text Welcome to the Desert of the Real set to two music tracks by The Notwist. Written just after September 11, 2001, Zizek's text discusses potential meanings and consequences of the tragedy and questions common responses to the event. He reads the destruction as an unacceptable act and an opportunity for critical reflection, responsibility, and change in historical U.S. economic and political policies in relation to the world outside its borders. |
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Evil.6: Making the Case/ Faking the Books Tony Cokes 2006, 9:55 min, color, sound Evil.6 animates an edited transcript from George W. Bush's 2003 State of the Union Address, in which he outlines his case for the invasion of Iraq and toppling Saddam Hussein's dictatorship. The text is juxtaposed with video images and sounds from Intelligence Failures by Benj Gerdes, which isolates only the pauses between sentences from the same televised speech. |
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Fluxfilm Anthology Fluxus and Happenings 1962-1970, 120 min, b&w; and color, sound Dating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), Fluxfilm Anthology is a document consisting of 37 short films ranging from 10 seconds to 10 minutes in length. These films (some of which were meant to be screened as continuous loops) were shown as part of the events and happenings of the New York avant-garde. Made by the artists ranging from Nam June Paik and Wolf Vostell to Yoko Ono, they celebrate the ephemeral humor of the Fluxus movement. |
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Death by Chocolate: West Edmonton Shopping Mall (1986-05) Dan Graham 2005, 8 min, color, sound Produced by Graham at the Banff Centre in Canada, Graham's new video draws on nearly twenty years' worth of footage shot in the bizarre yet familiar arena of the shopping mall. The resulting work provides a coldly beautiful view of mall culture: its architecture, its consumer public and its unique aesthetic world. This work also provides a corollary to Graham's own prodigious writings and projects on the public spaces of corporate capitalism. |
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Yin/Yang Dan Graham 2006, 4:39 min, color, sound Graham produced this short video to accompany an architectural model of his Yin/Yang Pavilion at MIT for the 2006 Sao Paulo Biennale. Graham's 2002 Yin/Yang Pavilion is made of concave and convex two-way mirrored glass -- a material that creates constant fluctuations between transparency and reflection. The pavilion is activated by viewers who move through its curving spaces to experience anamorphic reflections of the sky, surrounding objects and landscape, and the superimposed images of other spectators. |
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East Coast, West Coast by Nancy Holt and Robert Smithson 1969, 22 min, b&w;, sound Holt and Smithson's first collaborative experiment with video takes the form of a humorous bi-coastal art dialogue. Joined by their friends Joan Jonas and Peter Campus, the artists improvise a conversation based on opposing - and stereotypical - positions of East and West Coast art of the late 1960s. Holt assumes the role of an intellectual conceptual artist from New York, while Smithson plays the laid back Californian driven by feelings and instinct. |
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Mono Lake by Nancy Holt and Robert Smithson 1968-2004, 19:54 min, color, sound Featuring Super 8 film footage and Instamatic slide images of artists Robert Smithson, Michael Heizer and Nancy Holt as they visited California's Mono Lake in July of 1968, this piece was edited by Holt in 2004. Mono Lake is a document of a unique natural environment, a candid "home movie" of the artists' 1968 road trip, and an intimate view of three seminal figures in the earth art movement as they interact with the Western landscapes that are so central to their work. |
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Swamp by Nancy Holt and Robert Smithson 1971, 6 min, color, sound Nancy Holt and Robert Smithson collaborated on this seminal film, which viscerally confronts issues of perception and process. The action of the film is direct: Holt walks through the tall grasses of a swamp while filming with her Bolex camera, guided only by what she can see through the camera lens and by Smithson's verbal instructions. The viewer experiences the walk from Holt's point of view, seeing through her camera lens and hearing Smithson's spoken directions. Vision is obstructed and perception distorted as they stumble through the swamp grasses. |
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Underscan Nancy Holt 1973-74, 21:06 min, b&w;, sound Underscan is a seminal early video work. Holt writes: "...Time and the visual image are compressed. A series of photographs of my Aunt Ethel's home in New Bedford, MA had been videotaped, and re-videotaped while being underscanned....Because of this underscanning process, each static photo image, as it appears, changes from regular to elongated to compressed or vice versa. Excerpts from letters from my aunt spanning 10 years are condensed into 8 minutes of my voice-over audio." |
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Le Prince: Leeds Bridge 1888 Ken Jacobs 2005, 6 min, b&w;, silent Writes Ken Jacobs: "Louis-Aimé-Augustin Le Prince was the first person to create, in 1885, a single recording apparatus that photographed images in quick succession on George Eastman's new paper roll film. Le Prince applied for patents but the fix was in, leaving Edison and the Lumière Brothers to profit from his invention.... In 1888 he made a number of short recordings. Here we see Leeds Bridge on a day like any other, its foot and carriage traffic as portentous or as casual as the crisscrossings of the stars. Looped, we Tom Tom some of its infinity of captured gesture." |
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Pushcarts of Eternity Street Ken Jacobs 2006, 10:30 min, b&w;, silent 1903 hand/horse drawn street carts on New York's Lower East Side. Tiny movements evolve in place, caught between 2-D and 3-D. |
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Two Wrenching Departures Ken Jacobs 2006, 90 min, b&w;, sound In October 1989, estranged friends Bob Fleischner and Jack Smith died within a week of each other. Ken Jacobs met Smith through Fleischner in 1955 at CUNY night school, where the three were studying camera techniques. This feature-length work, first performed in 1989 as a live Nervous System piece is a "luminous threnody" (Mark McElhatten) made in response to the loss of Jacobs' friends. |
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All Wrongs Reversed ©1982 JODI 2004, 45 min, color and b&w;, sound "This piece is a Screen Grab tutorial of how to make simple computer graphics using the BASIC programming language. This continues JODI's work for the Sinclair ZX Spectrum computer.... You can follow along with JODI as they programme the ZX Spectrum in real time..." The resulting conceptual piece unfolds as a witty performative rendering of graphics and text that highlight the abstract poetics of this early computer language. |
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Ideas of Order in Cinque Terre Ken Kobland 2005, 32 min, color, sound "Cinque Terre is the designation for a string of towns dotting the northern Mediterranean coast of Italy. ...Kobland was invited to spend a few weeks there in November 2004, and Ideas of Order in Cinque Terre is the result of his brief love affair with the landscape of the place. Concentrating on line, geometry, and tones of sound and color, Kobland has crafted a powerful, abstract homage to a little piece of paradise." -- Tribeca Film Festival, 2006. |
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Winter in Miami 2005 Shigeko Kubota 2006, 14 min, color, sound Winter in Miami 2005 is Kubota's touching tribute to her husband, artist Nam June Paik, who died at their home in Miami in January 2006. This intimate piece features previously unreleased sound recordings of Paik at the piano in his New York home in 2005, playing haunting compositions that he wrote in 1945, when he was thirteen years old. Layered footage of Kubota and Paik, sitting together in Miami in the winter before his death, takes on the resonance of memory. |
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"Intersection Conique" Gordon Matta-Clark by Marc Petitjean 1975-2006, 17 min, b&w;, sound In September 1975, photographer Marc Petitjean documented Matta-Clark as he made one of his major "building cuts" in Paris. Created for the 1975 Paris Biennale, Matta-Clark's Conical Intersect was a spiraling cone-shaped cut through a pair of 17th-century buildings on rue Beaubourg. Slated for demolition as part of the "urban renewal" of the Les Halles district, the buildings were adjacent to the Centre Pompidou, then under construction. Petitjean records Matta-Clark's two-week process and interviews him at the site. |
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Reality Properties: Fake Estates by Jaime Davidovich 1975, 7 min, b&w;, sound Gordon Matta-Clark's Fake Estates project, which dates from 1973-74, addresses issues of property, ownership, and urban spaces. For this project, Matta-Clark purchased fifteen small, unusable odd lots - termed "gutterspaces" -- that were being auctioned off by the city of New York. Although the artist collected extensive archival documents relating to the properties, his plans for using them were never realized; after his death the lots reverted to the city. This historical footage, shot by video artist and cable television pioneer Jaime Davidovich, documents Matta-Clark as he visits one of the sites in Queens. |
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The Wall Gordon Matta-Clark 1976-2007, 15:04 min, color, sound This newly assembled work is a rare document of a 1976 Matta-Clark performance in Berlin. The piece begins with the following statement: "In 1976, as part of the Akademie der Kunst and Berliner Festwochen exhibition 'Soho in Berlin,' Gordon Matta-Clark went to Germany with the intention of blowing up a section of the Berlin Wall. Dissuaded by friends from such a suicidal action, the result was the following performance." The film records Matta-Clark as he stencils 'Made in America' on the Wall, affixes commercial advertisements over graffiti, and has a run-in with the police. |
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Feeling Free with 3D Magic Eye Poster Remix Shana Moulton 2004, 8:13 min, color, sound Appropriating a dated exercise video hosted by actress Angela Lansbury, Feeling Free presents a woman, played by Moulton, who attempts to follow the televised workout in her living room even as elements of her home décor begin to appear onscreen. Moulton subjects the footage to eccentric visual and audio displacements, culminating in a psychedelic dance sequence set to a remix of the program's insipid theme song. |
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Whispering Pines 3 Shana Moulton 2004, 7:33 min, color, sound Whispering Pines 3 continues Moulton's evocatively oblique video series. Seated in an easy chair, wearing a multi-colored neck brace and surrounded by odd home decorations, Moulton's protagonist Cynthia allows us a glimpse into uncanny psychic spaces and an inner life that seems to oscillate between concerns with animals and mass-market objets d'art. |
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On Translation: Fear/Miedo Muntadas 2005, 30:27 min, color, sound This televised intervention weaves together interviews with people who experience tensions of the border zone on a daily basis, archival televised footage that refers to the idea of fear on the border between Mexico and the U.S., and documentary and journalistic material. The video reveals how fear is a translated emotion, revealing itself in differing ways on both sides of the border as a cultural/sociological construction based on politics and economics. This work was broadcast in Tijuana, San Diego, Mexico City, and Washington, D.C. in 2005. |
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Monster Movie Takeshi Murata 2005, 3:55 min, color, sound Takeshi Murata continues to push the boundaries of digitally manipulated psychedelia. In Monster Movie Murata employs an exacting frame-by-frame technique to turn a bit of B-movie footage into a seething, fragmented morass of color and shape that decomposes and reconstitutes itself thirty times per second. |
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Untitled (Silver) Takeshi Murata 2006, 11 min, b&w;, sound Takeshi Murata employs precise digital processing to create astonishing hallucinatory visions. In Untitled (Silver), Murata subjects a snippet of footage from a vintage horror film (Mario Bava's 1960 Mask of Satan, featuring Barbara Steele) -- to his exacting yet almost violent digital manipulations. The seething back and white imagery constantly decomposes and reconstitutes itself, slipping seductively between abstraction and recognition. |
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Life of Phillis Tony Oursler 1979, 55:23 min, b&w;, sound Newly restored from its original elements, Life of Phillis is one of Oursler's earliest video narratives. In this psychosexual, low-tech epic, Oursler creates an outrageous theatrical world, fashioning characters from unlikely found objects. Willfully primitive, often grotesque, and crafted with an ingenious visual shorthand, Life of Phillis inhabits an ironic landscape fabricated from the detritus of pop culture. |
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P-Unit Mixtape 2005 Paper Rad 2005, 21:08 min, color, sound This delirious montage of appropriated and computer-generated elements merges perennial Paper Rad themes such as Gumby and the 8-bit computer aesthetic with a keen, critical take on contemporary culture. This self-described "mix tape" - a term that refers here both to the group's montage strategy and to popular compilations of bootlegged hit music - takes on the war in Iraq, the art market, and the images of ostentatious wealth and glamour flaunted by pop stars today. |
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All Day and a Night Alix Pearlstein 2005, 12 min, color, sound Pearlstein explores relationships among psychology, ritual and religion. The piece was filmed within an installation by Simon Foreman. An interior white cube bathed in intense light is viewed through a square window; a 70's kitsch picture depicting Christ hangs discretely on the back wall of the ancillary space. Pearlstein takes up Foreman's consideration of the relationship between Christianity and modernism, while also instigating interactions between psychology and the search for alternative consciousness, ritual and religion. |
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Arena Alix Pearlstein 2004, 17:15 min, color, sound Arena was presented both as a live performance and as a video shoot on two weekends at Salon 94 in New York, one month before the presidential election and concurrent with the debates. Its theme and structure echo these events. The video is a real-time mix of three camera points of view, serving both as a document and an independent piece. Exposing the mechanics of the live event and the fiction of the narrative,Arena examines the essential components of competition, hierarchies, and the dynamics of power. |
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Parlor Game Alix Pearlstein 2004, 6:20 min, color, sound In this tale of dominance and submission, three people play a game in an urban garden, tossing a small sack back and forth. The player who drops it becomes "odd man out" or the designated victim. The elegant surroundings contrast with the humiliations he is made to perform. When the victors lose interest and leave themselves vulnerable, he catches them off guard and re-initiates the game. |
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Digital Video Effect: "Editions" Seth Price 2006, 12 min, color, sound This video was created and released into distribution as one work in a solo exhibition that Price held simultaneously at Friedrich Petzel Gallery, Reena Spaulings Fine Art, and Electronic Arts Intermix in New York in September 2006. The video serves as a sampler of Price's editioned videos to date, all of which have been sold through the galleries. Here, fragments of sound and image from the editions have been brought together, yielding a montage that, while bordering on incoherence, provides access to these publicly unavailable artworks. Price juxtaposes disparate authors, editing strategies, and histories, yielding a work in the essay-film tradition, at once lyrical and messy, highly-edited and arbitrarily composed. |
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NJS Map Seth Price 2001-02, 2:20 min, color, sound Price uses cheesy analogue video graphics to chart a pop history of the short-lived '80s music genre New Jack Swing. Price traces a "family tree" that includes nearly-forgotten figures such as Keith Sweat, Guy and Bell Biv Devoe, former stars of this producer-driven, synthetic, and once wildly popular genre. Price has written about this music in his essay "New Jacs Swinjgx" and also pays homage in a mix-tape that is part of his Distributed History project, in which he examines the just-past, putting pop's cast-offs to work in order to sketch a redemptive cultural history. |
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RSG-Black-1 (Black Hawk Down) Radical Software Group (RSG) 2005, 22:04 min, color, sound RSG-BLACK-1 is a new cut of a Hollywood blockbuster portrayal of a 1993 U.S. raid in Somalia. In the RSG version, all the white characters have been programmatically edited out. The result is a 22-minute conceptual investigation of representation and ideology. A timely and chilling critique, the new narrative highlights the entertainment industry's images of those it sees as "other." |
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Prototype (God Bless America) Martha Rosler 2006, 1 min, color, sound In this new video work, Rosler presents a short but incisive statement. A mechanical toy figure dressed as an American soldier plays "God Bless America" on a trumpet. The camera pans down, revealing that the toy's camouflage-clad trouser leg has been rolled up to uncover a mechanism that looks uncannily like a prosthetic limb. |
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Carl Ruggles Christmas Breakfast 1960 Carolee Schneemann 2007, 9:04 min, color, sound In her earliest film, which has been newly transferred to video, Schneemann presents an abstracted portrait of the American composer Carl Ruggles, known for his irascible personality and finely-crafted atonal music. Ruggles is seen enjoying pie a la mode and ruminating on subjects ranging from Christmas to his incomplete opera The Sunken Bell. The hand-painted film stock heightens the impressionistic vitality of this snapshot of the 84-year-old composer. |
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Souvenir of Lebanon Carolee Schneemann 1983-2006, 6 min, color, sound "Souvenir of Lebanon follows a long video pan through destroyed Palestinian and Lebanese villages. In 1982-83, Israeli ceaseless bombardments destroyed bridges, farms, roads, hospitals, schools, libraries, apartments, and historic sites and towns dating back 2000 years. The live color footage was received unexpectedly from an anonymous news photographer. It is intercut with black and white disaster stills I re-shot from daily newspapers, edited in juxtaposition with color slides of bucolic Lebanon given to me on the day the Lebanese tourist bureau in New York city closed." |
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- + 2005 Ira Schneider 2005, 28 min, color, sound Schneider writes: "- + 2005 was completed in February 2005. It is a non-narrative information collage of people, places & themes. It includes brief clips of Michael Moore, Yoko Ono, Rome, Atlanta & longer sequences in Venice, NYC, San Francisco, & Berlin. It alludes to art, politics, music & literature. It includes some Berlin nightlife & Venice water." |
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In and Out of Context Ira Schneider 2005, 60 min, color, sound Schneider writes: "It is a non-narrative information collage of people, places & music. It includes brief clips of Jonas Mekas' Anthology Film Archives 35th Anniversary & sequences in Copenhagen, NYC, Nice. It alludes to art, music. It includes some Berlin nightlife, Fluxus Performance and a look at Andy Warhol's favourite club of the 60's - Max's Kansas City." |
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More or Less Related Incidents in Recent History Ira Schneider 1968-2005, 38 min, color, sound Schneider writes: "Started as film in 1968 about the painting of a boutique in Greenwich Village & the scene that evolved around it, it contrasted the news of the Viet Nam war with the 60s fashion scene....I filmed the rock n? roll sequences in 1967-68 with reversal Ektachrome at 1600 ASA & passed them through an analog video echo in 1975. I finally videoed the original site in 2004 & finished editing the work in January 2005..." |
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What I'm Looking For Shelly Silver 2004, 15 min, color, stereo sound In What I'm Looking For, Silver relates the story of a woman who sets out to photograph intimate moments in public space. As she finds herself drawn into a series of meetings with strangers contacted through an Internet dating service, her apparently simple task unfolds into ambiguity and obsession, ultimately becoming an investigation into questions of documentary versus fiction, private versus public, and the real versus the imagined. |
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Floating Island to Travel Around Manhattan Island Robert Smithson 2005, 16 min, color, sound Floating Island to Travel Around Manhattan Island (1970-2005) is a project by Robert Smithson that was realized posthumously. Produced by Minetta Brook in collaboration with the Whitney Museum of American Art, Floating Island features a barge landscaped with earth, trees, shrubs and rocks: a "non-site" of Central Park. Towed by a tugboat, this fabricated "island" circled the island of Manhattan for a week in September of 2005. This video documents the evolution and realization of this project. |
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Anarchive 2: Digital Snow Michael Snow 2002, DVD-ROM, color, sound Digital Snow is a comprehensive DVD-ROM collection devoted to the works of experimental filmmaker/artist Michael Snow. A virtual encyclopedia of Snow?s works, Digital Snow features original interviews, video excerpts, musical extracts, rare documentaries and records for over 700 of his works. In addition to the extensive DVD-ROM material, this collection includes two catalogs with introductory texts, an outline of the main principles in Snow's work, content summaries, instructions, and more. Text in English and French. |
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(Tommy-Chat Just E-mailed Me) Ryan Trecartin 2006, 7:15 min, color, sound Trecartin describes this work as a "narrative video short that takes place inside and outside of an e-mail." Trecartin, wearing his signature make-up, jumps back and forth between male and female roles. Totally self-absorbed and equipped with vestigial attention spans, the stylized characters are constantly on the phone or online. Their e-mail exchanges and Internet searches are channeled into bright animations that intersect with "real world" locations; the story moves from person to person like a browser surfing through Web pages. Engrossed in manic electronic interactions, the characters become increasingly isolated and solipsistic. |
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Belly's Ryan Trecartin 2001, 1 min, color, sound Crafting an elaborate set from shimmering, cheap decorations, Trecartin transports three people into a mysterious space. There the bewildered victims argue in sped-up, high-pitched speech before arriving at a startling conclusion. This surreal narrative incorporates some of Trecartin's earliest experiments with all-encompassing set design and sound processing. |
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Kitchen Girl Ryan Trecartin 2001, 3 min, color, sound In Kitchen Girl, Trecartin's frequent collaborator Lizzie Fitch throws herself into a state of total hysteria, portraying a girl who takes the childhood game of "playing house" to a dark and disturbing place. Her overwrought performance is perfectly matched by Trecartin's skillful, hyperkinetic editing. Together they turn Trecartin's kitchen into a dimly lit world of mental trauma. Combining the innocuous with the malevolent, Fitch and Trecartin escort the viewer on a whirlwind tour of household dysfunction, child abuse, and isolation. |
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Love Part One Ryan Trecartin 2002, 5 min, color, sound Trecartin twists a love story into something more complex. Boy meets girl, girl asks for a slow-dance, another boy appears. Time falls apart as the characters encounter one another in different combinations in Trecartin's house in Providence, Rhode Island. The three characters proceed to casually seduce and discard one another until each is left alone. Trecartin continues to refine his extraordinary digital manipulations of time while exploding the conventions of melodrama. |
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Valentines Day Girl Ryan Trecartin 2001, 7 min, color, sound Trecartin crafts a fantastical narrative about a girl whose obsessive personal utopia is disrupted. Trecartin's collaborator, Lizzie Fitch, plays a girl obsessed. Everything in her hyperactive, sped-up world revolves around Valentine's Day: red, white, and pink love-themed decorations cover every surface; heart shapes abound; Valentine's Day treats are everywhere. Her private festivities suddenly go awry as a hoard of Christmas-themed intruders appear; gagged and bound, "Valentines Day Girl" is forced to watch while her captors stage a frenzied Christmas intervention. |
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Wayne's World Ryan Trecartin 2003, 8 min, color, sound Trecartin and his collaborator/co-star Lizzie Fitch ponder the messages delivered by the most banal forms of mass media and pop culture in their own unique version of a music video. They voice questions in song and dance segments that feature a deliberately ill-fitting pastiche of discarded fashions of the past two decades and recycled pop-music clichés. Totally immersed in their meticulously crafted private universe, Trecartin and Fitch coyly point at the gaudy artifice surrounding us in our own. |
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What's The Love Making Babies For Ryan Trecartin 2003, 20 min, color, sound Trecartin's extraordinary digital manipulations reach a new level as he speculates in vivid animation about reproduction, sexuality, and contemporary moralities. Collapsing footage appropriated from television, the Internet, and pop culture, Trecartin and his elaborately costumed collaborators manufacture an alien yet familiar reality from the raw material of disposable media clichés and fads. Inside this startling new video world, technophile gods argue about the future of gender and produce cryptic TV commercials, while characters deliver disjointed polemics that could have originated in ad campaigns, instant messaging conversations, or twisted episodes of syndicated science fiction. |
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Yo A Romantic Comedy Ryan Trecartin 2002, 12 min, color, sound In Yo A Romantic Comedy, Trecartin borrows clichés from hip-hop culture and genre films to craft a dark, dream-like narrative that veers from comic melodrama to goth fantasy. Applying his signature digital editing and delirious sound processing to remarkable effect, Trecartin creates an alternative narrative universe that suggests a kind of psychodramatic hyper-reality. |
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A First Quarter Lawrence Weiner 1973, 85 min, b&w;, sound "Using the structure of a feature film as its basic format, A First Quarter adopts the principles of nouvelle vague cinema as its role model. Simultaneous realities, altered flashbacks, plays on time and space are all components of the form and content of the film. Because it was originally shot in video and then kinescoped to 16 mm film, [it] has acquired a poetic, soft look. The dialogue consists entirely of the work as it is spoken and read, built, enacted, written and painted by the players. As the scenarios build, they appear as tropes, one after another." |
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Inherent in the Rhumb Line Lawrence Weiner 2005, 7 min, color, silent Inherent in the Rhumb Line is a silent motion drawing. "With the advent of the rhumb line - a line of constant bearing or loxodrome - a cognitive pattern developed in the Western world that allowed the possibility to conceive pillage on voyages of discovery. Inherent in the Rhumb Line is an imperative for use - regardless of consequence - a flattened convolution that marries landscape with loot and preordination." |
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Light Blue Sky Lawrence Weiner 2002, 4:45 min, color, silent A silent "motion drawing," Light Blue Sky continues Weiner's digital exploration of language structures, categorical systems, and the process of reading. With his distinctive interactions of shifting colors, animated graphics and epigrammatic text, Weiner engages in visual and linguistic play that suggests philosophical puzzles. "The future laden as it is with the mistakes of the past" reads one of his typically gnomic phrases. |
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Plowman's Lunch Lawrence Weiner 1982, 29:32 min, color, sound "Plowman's Lunch is called a documentary because its intent was to explore actual occurrence, be it the building of the work, or what befalls the players?Cartoon-like framing and intense color give the film a composed, painterly quality. The story is about emigration?A loose group of individuals consisting of young and old people, intellectuals and workers (blue and white collar), and a transvestite/hermaphrodite attempt to leave where they are and go, simply, somewhere else. They are a microculture and their machinations are revealed in highly stylized vignettes which are almost stories unto themselves and are strung throughout the film like a fisherman's buoys." |
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Sink or Swim Lawrence Weiner 2003, 18 min, color, sound Combining live footage with animated drawings, text, and diagrams, Sink or Swim comments on the precarious relationship between knowledge, perception and language. "With the knowledge that the Earth is flat," reads one of Weiner's gnomic phrases, "it's a snap to get to the point." With recurring visual and linguistic references to water and sky, Weiner creates a playful grammar of graphic representations. |
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Wild Blue Yonder Lawrence Weiner 2002, 15:15 min, color, sound Wild Blue Yonder fuses animated drawings and text with video footage of Weiner's friends, colleagues, and family. Weiner recontextualizes the everyday, leveling gestures, conversations, actions and interactions into a system of codes that blur the boundaries between what is choreographed and what is improvised. Weiner's visual grammar (arrows, horizons, frames) suggests motion and borders; the relationships of the animations, aphoristic text, and conversations activate questions of intimacy within the conventions of physical and personal space. |
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Point Of View: An Anthology of the Moving Image Point Of View: An Anthology of the Moving Image is
a DVD series produced by The New Museum that features eleven leading artists from different generations
and cultural perspectives, who are among the most important artists working
in film, video, and digital imagery today: Francis Alÿs , David Claerbout,
Douglas Gordon, Gary Hill, Pierre Huyghe, Joan Jonas, Isaac Julien, William
Kentridge, Paul McCarthy, Pipilotti Rist, Anri Sala. |
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EAI collaborates with The Kitchen to introduce
a selection of rare early video documents from The Kitchen’s extraordinary
historical archives. Restored through The Kitchen Archive Project, these
works include video recordings of important experimental music, dance, installation,
and performance art from the early 1970s to the mid-1980s. This selection
includes seminal works of artists central to the downtown art and music
scene, including Laurie Anderson, Bill T. Jones, Rhys Chatham, Jean Dupuy,
Joan Jonas, and Lawrence Weiner, among many others. With this collabaration,
EAI and The Kitchen celebrate their shared histories and their commitment
to providing access to the vital legacy of experimental art. |
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Vito Acconci These twelve early Super-8 films by Vito Acconci date from 1969 to 1972, and include some of Acconci's earliest conceptual film performances, many of which have not been seen in over three decades. Included in this material is rare documentation of Acconciís seminal 1972 performance/ installation Seedbed. A number of these films were included in the recent exhibition Vito Acconci: Diary of a Body 1969-1973 at Barbara Gladstone Gallery in New York. |
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Tony
Oursler Tony Oursler's Synesthesia project features interviews with twelve
legendary figures in the downtown music, performance and art scenes: John
Cale, Thurston Moore, Dan Graham, Genesis P-Orridge, Kim Gordon, Glenn Branca,
Laurie Anderson, Tony Conrad, David Byrne, Lydia Lunch, Alan Vega, and Arto
Lindsay. Originally included in Oursler and Mike Kelley's multimedia installation
The Poetics Project, these works include influential figures in
the experimental rock and art underground, from pre-punk innovators to post-punk
icons. |
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"Visions
of Warhol" EAI collaborates with Re: Voir USA to present a series
of important experimental films on video. Visions of Warhol (1963-90)
features scenes from the life of Andy Warhol by pioneer filmmakers Jonas
Mekas, Willard Maas, Marie Menken, and Ronald Nameth. Other films in this
series includeVisibles (1959-72) by expanded cinema visionary
Stan VanDerBeek, Presents (1981) by filmmaker/artist Michael
Snow, and Tom Tom the Piper's Son (1969-02) by avant-garde film
pioneer Ken Jacobs. |
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To download a print-ready Adobe PDF document of our latest New Works brochure, please click on one of the Printable Catalogue Updates listed below. An archive of New Works brochures from the past several years is also available. (You may download the free Adobe Acrobat Reader from www.adobe.com.) |
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| Includes works by Ant Farm, Cory Arcangel, Sophie Calle, Tony Cokes, Bernadette Corporation, JODI, Shana Moulton, Muntadas, Takeshi Murata, Paper Rad, Seth Price, RSG, Michael Snow, Lawrence Weiner and others. |
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| Includes works by Vito Acconci, Peggy Ahwesh, Cory Arcangel, Cheryl Donegan, Ken Jacobs, Kristin Lucas, Tony Oursler, Alix Pearlstein, Radical Software Group (RSG), Pipilotti Rist, Michael Snow, Stan VanDerBeek, and others. |
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| Includes works by Beige & Radical Software Group, Torsten Zenas Burns & Darrin Martin, Theresa Hak Kyung Cha, Forcefield, Paper Rad, Alix Pearlstein, and others. |
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| Includes works by Peggy Ahwesh, Michel Auder, Lynda Benglis, Tony Cokes, Valie Export, Ken Jacobs, Kristin Lucas, Mary Lucier, Carolee Schneemann, the Wooster Group, and the Vasulkas, and others. |
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Includes audio CDs by Vito Acconci and video works by Phyllis Baldino, Peter Campus, Kristin Lucas, Nam June Paik, Eder Santos, Steina, Leslie Thornton, and others. |
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Includes works by Karen Finley, Ursula Hodel, Joan Jonas,Tom Kalin, George Kuchar, Chris Marker, Alix Pearlstein, Julie Zando, and others. |
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Includes works by Eleanor Antin, Seoungho Cho, Dan Graham, Shigeko Kubota, Paul McCarthy, Bruce Nauman, Tony Oursler, and Martha Rosler, and others. |
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