Michael Smith is a video, installation and
performance artist who invokes the routines of popular comedy to
articulate the banality and hype of mass consumer culture, and the
isolation of those whose inner lives are defined by it. Smith chronicles
the trivial dreams and adventures of his eponymous alter-ego, the
deadpan "Mike," a postmodern Everyman who believes everything and
understands nothing in his media-saturated world.
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Adopting the tongue-in-cheek appellation
Top Value Television, the influential video collective TVTV defined the
radical video documentary movement of the 1970s that is known as
"guerrilla television." TVTV subverted conventions of television news
and documentary reportage with its alternative journalistic techniques,
countercultural principles and pioneering use of portable, low-tech
video equipment.
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Merging a rich visual sensibility with an
almost scientific engagement with taxonomy and ecological systems, Frank
Gillette is a video pioneer whose multi-channel installations and tapes
focus on empirical observations of natural phenomena. An early theorist
of video's formal and aesthetic parameters, in 1969 he was a founding
member of the video collective Raindance.
California-based artists Bruce and Norman
Yonemoto deconstruct and rewrite the hyperbolic vernacular with which
the mass media constructs cultural mythologies. Ironically employing the
image-language and narrative syntax of popular forms, such as soap
opera, Hollywood melodrama and TV advertising, they work from "the
inside out" to expose the media's pervasive manipulation of reality and
fantasy.
Antoni Muntadas has produced a body of
work across diverse media, including photography, video, publications,
the Internet, multimedia installations and urban interventions. In his
projects, Muntadas addresses social, political and communications
issues, the relationship between public and private space within social
frameworks, and investigations of channels of information and the ways
they may be used to censor information or promulgate ideas.
German artist Klaus vom Bruch engages in a
provocative analysis of personal and national identity in relation to
cultural mythology and history. Vom Bruch constructs rhythmic,
repetitive confrontations between the self and collective memory,
presented as a theater of appropriated media images — television
advertising, Hollywood cinema, military archival films.
Dara Birnbaum's provocative video works
are influential and innovative contributions to the contemporary
discourse on art and television. In her videotapes and multi-media
installations, Birnbaum applies both low-end and high-end video
technology to subvert, critique or deconstruct the power of mass media
images and gestures to define mythologies of culture, history and
memory.
The influential, provocative and often
radical art-making practices of Vito Acconci have evolved from writing
through conceptual art, bodyworks, performance, film, video, multimedia
installation, sculpture, design and architecture. In the 1970s, he
produced a remarkable body of conceptual, performance-based film and
video works, in which he engages in an intensive psychodramatic dialogue
between artist and viewer, body and self, public and private, subject
and object.
Peter Campus is a seminal figure in video
art. In a career that includes installations and photography, Campus'
video work is distinctive in its theoretical and formal significance. In
videotapes produced from 1971 to 1976, Campus mapped the technical and
symbolic parameters of the emergent medium as metaphors for the
psychology of the self. This rigorous investigation was undertaken as a
systematic exploration of video's essential properties and formal
foundations.
Called "America's most important
dramatist" by Eugene Ionesco, Robert Wilson is a major figure in the
international avant-garde theater. He has written, designed and directed
a distinguished body of work for stage, opera, dance, film and video.
His innovative, stylized works for television are minimalist dramas that
unfold as waking dreams.
French filmmaker Jean-Luc Godard is one of
the essential figures in modern cinema. In 1976, Godard began
collaborating with filmmaker Anne-Marie Miéville on a series of
radically innovative works for broadcast on European television.
Displaying the rigorous intellect and irreverent wit that characterize
Godard's films, these richly experimental works break new ground both as
video and as television.
French filmmaker Chris Marker is one of the most highly regarded and experimental figures in cinema. His 1962 film La Jetée
is a recognized classic. Marker has also worked in video and
interactive technologies, creating documentaries, poetic meditations,
and idiosyncratic essays.
Vibrant and dynamic, the video works of
Australian artist Peter Callas are singular in form, technology and
iconography. In tapes, installations and laserdisc works, Callas
constructs extraordinary landscapes of animated signs and emblems. These
vivid and witty pictorial tableaux portray the popular, historical and
media images embedded within the construction of cultural identity and
collective memory.
French videomaker Robert Cahen has since
1972 produced works for cinema and television. His fictions and
documents are metaphoric voyages or reveries through time, place, memory
and perception. Genres such as narrative and performance are expanded
through visual, aural and temporal transformations of represented
reality.
Andy Warhol's work in film, video and
television is legendary. Not only did Warhol record his personal and
cultural environment incessantly as part of his artistic project, he was
also the subject and inspiration of many other artists' works. EAI is
pleased to present a number of video and film works that feature Warhol,
his art, and his social milieu of Superstars, musicians, and
celebrities. From the intimate diaries of Jonas Mekas and Michel Auder
to the kinetic synaesthesia of Ronald Nameth, these works capture one of
the 20th century's most significant artists, his everyday life and his
art.
French film theorist and artist Thierry
Kuntzel is among the major contributors to the textual analysis of film.
His theoretical texts apply psychoanalytical and semiological
constructs to examine the relation of filmic and psychical apparatuses.
Kuntzel's haunting video works, which unfold as elusive dreams, explore
perception and representation, memory and the unconscious, in relation
to the codes of cinema, photography and painting.
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.
"Cinema On Air" featured an evening of
projected silent video works, selected from the EAI Collection,
accompanied by two simultaneous sound performances heard through radio
headphones.
Audience members could tune in to either of the two live soundtracks,
watch the works in silence, or sample all all three experiences.
Korean-born artist Nam June Paik was a
seminal figure in video art. His video sculptures, installations,
performances and single-channel videos encompassed one of the most
influential bodies of work in electronic media art. Merging global
communications theories with an irreverent Fluxus sensibility, his work
in music, performance and video explored the juncture of art,
technology, and popular culture. Paik, who is recognized as a visionary
artist of the international avant-garde, died in 2006.
Emmy Award-winning producer Skip Blumberg
has been an influential figure in the evolution of the independent video
documentary. From his seminal guerrilla television work of the late
1970s and early explorations of the graphics of video (JGLNG, 1976) to his recent documentaries about world culture (Weekend in Moscow, 2002 and Return to Tibet, 2003) and performance videos (ConCreep,
2000), he brings a distinctive, personal approach to the documentary
form that, in his words, "warms up the cool medium of television."
Shigeko Kubota brings a singular
sensibility to her extensive body of video sculptures, multi-media
installations, and single-channel videos. Over her five-decade career,
Kubota has forged a lyrical confluence of the personal and the
technological, often merging vibrant electronic processing techniques
with images of nature, culture, art and everyday life. A prominent
Fluxus artist in the 1960s, she has created an ongoing, idiosyncratic
video diary since the 1970s.
French conceptual artist Sophie Calle
redefines through personal investigation the terms and parameters of
subject and object, public and private. In her projects, Calle immerses
herself in examinations of voyeurism and identity. Often playing roles
or adopting guises, she recasts her own identity to reconstruct or
document strangers' lives, examining the relationship between the artist
and the objects of her investigations.
Kristin Lucas is a multidisciplinary
artist who works in video, installation, performance and interactive Web
projects. In her anecdotal, performative mini-dramas, she constructs
virtual relationships with computers, television, and electronic media.
Set against an empty world of video games, daytime television and
shopping malls, her diaristic work resonates with social isolation and
alienation from the electronic media that she posits as a surrogate for
personal interaction.
Pipilotti Rist burst onto the
international art scene with visually lush video works and multimedia
installations that explore female sexuality and media culture, remixing
fantasy and the everyday. In the 1980s and '90s the Swiss-born Rist made
a series of tapes in which she subverted the form of the music video to
explore the female voice and body in pop cultural representations,
merging rock music, electronic manipulation, and performance.
One of the most celebrated and
iconoclastic figures of the American musical avant-garde, John Cage has
been instrumental in reshaping postwar Western music. Cage's radical
innovations in compositions and theory — the application of chance and
"found" sound as an integral compositional device, the creation of
musical structures based on rhythm rather than tonality — were
influential in altering traditional concepts of musical interpretation.
John Baldessari has been termed "one of
the most influential artists to emerge since the mid-1960s." From his
phototext canvases to his composite photo collages and installations,
Baldessari's works have contributed to the definition of postmodern art.
In the early 1970s, he produced droll conceptual video works that are
ironic investigations into perception, meaning and interpretation,
rendered with deadpan, often absurdist humor.
Peter d'Agostino investigates the
personal, cultural and technological systems of signs, language and
communications that permeate everyday life. D'Agostino applies semiotic,
deconstructive and appropriative strategies to his analyses and
critiques of the structure, function and influence of broadcast
television.
One of video's most original voices, Juan
Downey produced a major body of work that interweaves a sophisticated
multicultural discourse with an idiosyncratic search for identity.
Merging the subjective and the cultural, the diaristic and the
documentative, Downey investigated the self through the historical texts
of Western art and culture, and the rituals of his native Latin
America. A native of Chile who came to New York in 1965, Downey died in
1993.
Bruce Nauman is one of most important and
influential figures in contemporary art. His seminal films and
videotapes from the 1960s and '70s are among the most innovative
contributions to media art. In these conceptual works, Nauman uses his
body as an art object, executing repetitive performance actions in his
studio. Exploiting the phenomenology of the medium, including its
immediacy, space, and intimacy, his real-time gestures investigate the
very process of making art.
Dennis Oppenheim's conceptual artworks
include performance, sculpture, and photographs. In the early 1970s, he
was in the vangard of artists using film and video in relation to
performance. In a series of works produced between 1970 and 1974,
Oppenheim used his body as a site to challenge the self, exploring
personal risk, transformation, and communication through ritualistic
performance actions and interactions.
Dan Graham's provocative art and theories
analyze the historical, social and ideological functions of contemporary
cultural systems, including architecture, rock music, and television.
In performances, installations, and architectural/sculptural designs, he
investigates public and private, audience and performer, objectivity
and subjectivity. Deconstructing the phenomenology of viewing, he
manipulates perception with time delay, projections, closed-circuit
video, and mirrors.
Michael Snow is recognized as one of the
most important experimental filmmakers, as well as an accomplished
visual artist and musician. His groundbreaking and influential 1967 film
Wavelength is a key work in the history of structuralist cinema.
In recent years Snow has been working with digital media, exploring
electronic processes to further his rigorous investigations into the
nature of representation and perception.
An acclaimed multi-media performance
artist, Joan Jonas is also a major figure in video art. From her seminal
performance-based exercises of the 1970s to her later televisual
narratives, Jonas engages in an elusive theatrical portrayal of female
identity. Employing an idiosyncratic vocabulary of ritualized gesture
and symbolic objects that include masks, mirrors, and costuming, she
explores the self and the body through layers of meaning.
In her work in video, photo-text,
performance, critical writing and installation, Martha Rosler constructs
incisive social and political analyses of the myths and realities of
contemporary culture. Articulated with deadpan wit, her video works
investigate how socioeconomic realities and political ideologies
dominate ordinary life. Presenting complex critical analyses in
accessible forms, Rosler's video works merge performance, narrative,
documentary, and mass media images.
VALIE EXPORT has been an influential and
provocative figure on the international art scene for over three
decades. Her practice includes film, video, photography, text and
performance. Initially expanding the Viennese Actionist project to
confront a complex feminist critique of the social and political body,
her works achieve a compelling fusion of the visceral and the
conceptual.
Mike Kelley is one of the most provocative
and influential figures in contemporary art. His idiosyncratic works
negotiate a charged terrain of desire, dread and sociopathology in
everyday life. With deadpan humor, he invests childhood toys, kitsch,
and ordinary objects with subversive meaning. His video projects, often
created with collaborators such as Paul McCarthy, Raymond Pettibon, and Tony Oursler, inhabit a peculiarly American landscape infused with irony and pop cultural debris.
McCarthy was an influential figure in the
Southern California art and performance scene for decades before
achieving international recognition. His performance work in the late
1970s explored areas of Dionysian and shamanistic initiation rituals, as
well as the body and sexuality. The intensity of these performances,
which often included the graphic depiction of taboo subjects, eventually
led to his use of video and installation as primary media.
Marina Abramovic is recognized as one of
the leading international practitioners of performance art. From 1976 to
1988, Abramovic and her partner Ulay undertook a rigorous artistic
collaboration that included many video works. Seminal participants in
the European body art and performance movements, they created a series
of provocative, ritualistic performances entitled Relation Work.
In these highly charged events, they engaged in a dialogue of the body
and the self, testing the limits of mental and physical endurance, risk,
and male and female identities.
Phyllis Baldino engages in a conceptual
art practice that merges performance, video, sculpture and installation.
With wit and ingenuity, Baldino uses anecdotal conceptual humor and an
implied narrativity to question the function and meaning of everyday
objects and gestures. Her witty inquiries are often informed by
scientific or philosophical principles.
In the 1970s and early '80s, Hannah Wilke
produced performance tapes that examine sex and sexuality, feminism and
femininity, the body and its representation. Wilke explores gesture in
relation to gender and power, using her own image to confront the erotic
representation of the female body in art history and popular culture.
Merging social observation with satirical
humor, Chip Lord's work focuses on American myths and icons, from the
cult of the automobile to baseball, advertising, suburbia and
television. Lord, a founding member of the San Francisco-based
multi-media collective Ant Farm, examines how our collective identity and everyday life are defined by a consumer-based, media-driven culture.
Tony Oursler's video and multimedia works
take the form of a low-tech, expressionistic theater that is singular in
contemporary art. Willfully primitive, often grotesque, and crafted
with an ingenious handmade sensibility, his psychodramatic landscapes
are fabricated within the ironic vernacular of pop culture. His
idiosyncratic fictions are bizarre narrative odysseys through
psychosexual delirium and the detritus and artifacts of mass culture.
Bill Viola is a major figure in video art.
His works, which have received international recognition, are
distinguished by a confluence of allegorical resonance and virtuosic
control of technology. Viola explores video's temporal and optical
systems to metaphorically examine modes of perception and cognition, and
ultimately chart a symbolic quest for self. His ritualized
investigations of visual and acoustic phenomena, illusion and reality,
achieve a poetic articulation of visionary transcendence.
The video works of Korean artist Seoungho
Cho are distinguished by a lyrical confluence of complex image
processing and sound collage. His works are formalist, almost painterly
explorations of subjectivity and the subconscious. These poetic
meditations often focus on isolation and estrangement in relation to
culture and landscape.
The work of Hong Kong-born artist Yau
Ching strategically pulls apart the conventional relationship between
spectator and text. Inverting the roles of "tourist" and "native," she
interrogates the politics of representation in relation to questions of
gender, exile, and cultural translation. Difference emerges as a core
theme, invoked and challenged by the incongruities of public and private
memories.
Gary Hill is one of the most important
contemporary artists investigating the relationships between words and
electronic images. His inquiries into linguistics and consciousness
offer resonant philosophical and poetic insights, as he explores the
formal conjunctions of electronic visual and audio elements with the
body and the self. With experimental rigor, conceptual precision and
imaginative leaps of discovery, Hill's work in video is about, and is, a
new form of writing.
Since the mid-1970s, Marcel Odenbach has
produced an extensive body of tapes, performances, drawings and
installations, and has gained recognition as one of Germany's most
important artists working in video. His works engage in a provocative
discourse on the construction of self in relation to historical and
cultural representation.
A pioneeer in video technology and image
processing, artist and engineer Stephen Beck developed one of the first
video synthesizers — the Beck Direct Video Synthesizer. Designed in
1969, this device electronically fused moving color imagery with
recorded visual material in real time.
Fast-paced, wry and often acidic, the work
of Kip Fulbeck explores the contemporary Asian American and Hapa
(multiracial Asian) experience through personal narrative. Fulbeck taps
into the ambiguities of his identity while challenging the boundaries
of "identity" as a category. An inveterate storyteller, his clever,
nuanced tales are presented with an irony that is grounded in his own
blurred cultural footing and fascination for pop culture.
Brazilian videomaker Eder Santos creates
vibrant, poetic works that merge the personal, the cultural and the
technological to reinterpret motifs that are central to Brazil's
African, indigenous and European heritage. Evoking the rhythms and
textures of memory and history, he crafts a visual language of high-end
and low-end technologies, from digital media to Super-8 film.
X-PRZ existed from 1991-2000. The biracial "art band" had four members — Tony Cokes,
Doug Anderson, Kenseth Armstead, and Mark Pierson. Their collaboration
relied on the manipulation of vernacular material (found images, texts)
to question cultural practices, from critical theory to pop music. The
group's provocative "cultural actions" took the forms of installation,
photography, painting, sculpture, and video.
Gusztáv Hámos
Berlin-based artist Gusztáv Hámos, who emigrated from Hungary in 1979, explores the nexus of media and reality in his film and video works. Exploring the significance of myths and heroes in popular culture, Hámos constructs ironic, idiosyncratic fictions that quote sources from classical Greece to Hollywood, Snow White to comic book superheroes, science fiction to film noir thrillers.
Chris Burden gained international
attention in the 1970s as an influential and often controversial figure
in the West Coast body art, performance and Conceptual Art movements.
Investigating the psychological experience of personal danger and
physical risk, he used his own body as an art object in outrageous,
sometimes shocking acts, aggressively confronting the artist/audience
relationship and the artmaking process.
Exploring light and landscape as agents of
visual perception and memory, Mary Lucier examines 19th-century art
historical and literary traditions through the lens of technology. In
elegant "pictorial-narrative" works, she investigates the American
pastoral myth in "an ironic dialogue between past and present, mundane
and poetic, real and ideal." Lucier's metaphoric use of light evokes
transcendence and the sublime.
After producing a pioneering body of tapes in collaboration with Steina
in the early 1970s, Woody Vasulka has investigated the narrative,
syntactical and metaphorical potential of electronic imaging. His
development of an expressive image-language began as a rigorous
deconstruction of the materiality of the electronic signal, and has
evolved to the application of imaging codes and digital manipulation to
narrative strategies.
Bringing a painterly, poetic aesthetic to
his distinctive image-processing techniques, Shalom Gorewitz uses the
electronic medium to create introspective visions, transforming recorded
reality through an expressionistic manipulation of images and sound.
Douglas Gordon rose to international
prominence in the 1990s, and is widely celebrated for his rigorous
conceptual work. Reworking found source materials ranging from the
suspense films of Alfred Hitchcock to classic horror literature such as Doctor Jekyll and Mr. Hyde,
the Scottish-born Gordon mines the psychological implications of these
texts as shared cultural memory. In film projections, video works,
performances, photography, and multi-media installations, Gordon
reimagines these cultural texts to address notions of self and
subjectivity, the knowability of evil, and the ambiguity of morality.
Tom Kalin's works traverse diverse genres
and forms, from independent feature films to video poems. A prominent
figure in the New Queer Cinema, he was a founding member of the AIDS
activist collective Gran Fury. Swoon (1992), his first feature
film, typifies his mix of narrative, cultural theory and social
awareness. His resonant video works, which merge text, music, and poetic
images, fuse the personal with the political.
Since he began working in film and video
in the early 1970s, Ken Feingold has explored a complex discourse on the
representation of the Other. His examination of the relation between
the self and the real, as reflected in media images and new
technologies, has led to an inquiry into the subjective observation of
cultural otherness.
Bringing complexity and sophistication to
her deconstruction and appropriation of popular texts, Rea Tajiri
decodes the images and soundtracks of Hollywood cinema and mass media as
a strategy of cultural analysis. Fragmenting and rereading the
vernacular of pop cultural narratives, she deciphers their embedded
meanings to expose how history and memory are rewritten through media
representation.
South African artist William Kentridge has
forged a unique practice, one that is rooted in avant-garde theater and
traditional forms of Left cultural critique even as it responds to
contemporary video and the international art world. Translating his
distinctive charcoal drawings into hand-made animated films that show
signs of erasure and reworking, Kentridge crafts allegorical, gestural
narratives that may be read as specific to the political and social
realities of South Africa, at the same time that they function as
powerful observations of the human condition.
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