As part of EAI's ongoing 45th anniversary celebrations, we launched a series of screenings that highlight an under-recognized but historically important and creatively fertile area of our programs: EAI's Editing Facility for artists. Established in 1972 with early 1/2" open reel editing equipment, EAI's facility was one of the first such post-production workspaces for artists in the U.S. Over five decades, an extraordinary group of artists has used EAI's facility to create some of the most significant works in media art's diverse histories. The first screening, which featured an eclectic selection of works from the 1970s, charted the alternative artistic, political, and cultural expressions of artists experimenting with emergent video editing technologies and strategies.
EAI presented a screening and discussion around the newly discovered and restored films and videos of Ana Mendieta. Presented in collaboration with Galerie Lelong, New York, the event featured a conversation with Ana Janevski, Associate Curator, Department of Media and Performance Art at The Museum of Modern Art, and Raquel Cecilia Mendieta, Film Archivist for the Estate of Ana Mendieta, moderated by Lori Zippay, Executive Director of EAI.
A number of unknown media works by Mendietaincluding Super 8 and 16mm films, ˝ inch reel-to-reel videos and a sound piecerecently came to light when the Estate of Ana Mendieta Collection, in collaboration with Galerie Lelong, catalogued, transferred, and preserved the entirety of the artist's moving image works. Revealing aspects of Mendieta's practice that are not as widely known as her ritualistic investigations of body and nature, these newly restored works illuminate Mendieta's technical experimentation and the importance of the moving image to her art.
Among the experimental viewed and discussed were Sweating Blood (1973), Moffitt Building Piece (1973), Butterfly (1975), and Energy Charge (1975).
The exhibition Ana Mendieta: Experimental and Interactive Films will be on view at Galerie Lelong through March 26th.
EAI partnered with Moving Image New York to present LoVid's 2015 video cell-a-scape.
In EAI's 45th anniversary year, we celebrate new moving image work that carries forward a legacy begun in the early days of video and computer technology in the 1960s and 70s. During a residency at the Experimental Television Center (ETC) in Oswego, New York, LoVid (Tali Hinks and Kyle Lapidus) worked with historical image-audio processing devices (including Nam June Paik's "Wobbulator," the Sandin Image Processor, and the Jones Colorizer). The duo began to create their own hand-built synthesizers, culminating in their main instrument, the Sync Armonica, constructed during a residency at Eyebeam in 2005.
cell-a-scape visualizes the juxtaposition of media with physical objects, geographic spaces, and human culture, and foregrounds the porous boundaries between the "reality" of nature and the constructed experience of technology.
Dia Art Foundation and Electronic Arts Intermix (EAI) presented a special members screening of artist Joan Jonas's Volcano Saga (1989). Shot in Iceland and New York, this 28-minute video is based on a medieval Icelandic Myth, titled Laxdaela Saga, and features Tilda Swinton as a young woman whose dreams foretell the future. Employing layered digital effects, Jonas creates a ritualistic dreamscape of the young woman's imagination and desires. With this event EAI launched our 45th anniversary year. Following the screening, Dia Associate Curator Kelly Kivland lead a Q&A. Please click here to become a Friends of EAI Member.
The special selection of media artworks for the public spaces of the Sagamore Hotel was drawn from EAI's extensive archive. The media artworks on display in the hotel presented formal, conceptual, or perceptual transformations of natural landscapes and environments. In works that range from the playful to the socially resonant, the artists investigate diverse notions of landscape, from transmutations of nature, the body, and everyday objects to the "media landscape" of today's televisual and digital cultures. Moving between abstraction and representation, the organic and the electronic, these workswhich span five decadesalso explore the materiality and meanings of video and digital media.
Electronic Arts Intermix (EAI) presented an artist talk with Sondra Perry, whose formally striking works in video, computer-based media, and performance unflinchingly confront themes of power, agency, and racial and gender identities.At EAI, Perry screened and discussed recent and upcoming projects, including the ambitious work-in-progress, My Twilight Zone Thing, developed through a residency in Recess's Session program. This event launched EAI's distribution of Perry's work.
EAI presented a special screening of Arthur Ginsberg and Video Free America's The Continuing Story of Carel and Ferd (1970-75), a remarkable work of early video verité that focuses on the unconventional union of Carel Rowe and Ferd Eggan, two self-proclaimed "freaky people" attempting to conform to the norms of American domestic bliss. The Continuing Story..., which has been newly preserved, was prescient in provoking questions about the veracity and objectivity of a live-in camera and crew, pre-dating the ubiquity of reality television by at least three decades.
EAI presented a seasonally themed free screening of macabre media digging through the tropes of horror cinema. Although narrative, genre, and lurid popular entertainment may seem an unlikely source of inspiration for artists' media, the grotesqueand specifically its situation within the televisual dimensionhas crept into approaches as varied as the diary video, direct-camera performance, film/video hybrid, and datamosh.
By dissecting and reanimating the themes and situations of horror film and television, artists such as Peggy Ahwesh, Michael Smith, Cynthia Maughan, Cecilia Condit, Tony Oursler, and George Kuchar offer a subversive post-mortem on the syntax and politics of the genre while offering a glimpse of the unknown, mysterious, and shocking that lurk at the video signal's outer limits.
EAI participated in The NY Art Book Fair at MoMA PS1, organized by Printed Matter. EAI's booth featured DVDs, books, vinyl recordings and special items by artists including Ken Jacobs, Michael Bell-Smith, Zoe Beloff, Seth Price, Merce Cunningham, The Wooster Group, William Wegman, and C. Spencer Yeh, among many others. Charles Atlas signed copies of his new monograph, "Charles Atlas," on September 19.
EAI paid tribute to Shigeko Kubota (1937-2015) with a daylong screening of her remarkable video works. The program, which spanned a period of thirty-five years, included Kubota's seminal "Broken Diary" pieces, such as Europe on ˝" a Day (1972) and My Father (1973-75), as well as documents of her multi-media installations (1970-94), and videos such as Rock Video: Cherry Blossom (1986), in which she fuses nature and electronic processing. Honoring Kubota's life and art through a daylong immersion in her groundbreaking video works, the program screened at multiple scheduled times throughout the day, and was free and open to the public.
EAI paid tribute to Chris Burden (1946-2015) with a daylong screening of video works by and about one of the most important artists of his generation. The free program, which included key early pieces such as Documentation of Selected Works 1971-74 and The TV Commercials 1973-1977, screened at multiple scheduled times throughout the day.
Dia Art Foundation and Electronic Arts Intermix (EAI) presented a special members screening of artist Dan Graham's Two Way Mirror Cylinder Inside Cube and a Video Salon (1992) and Classic and Recent Installations/ Pavilions 1974-2008 (2009). The 1992 video Two Way Mirror Cylinder Inside Cube and a Video Salon explores Dan Graham's investigations of the urban landscape and highlights his rooftop Urban Park Project, which was an installation on the roof of Dia Center for the Arts from September 1991 to January 2004. Compiled by Graham and edited at EAI in 2009, Classic and Recent Installations/Pavilions 1974-2008 documents ten of the artist's installations that span twenty-five years, focusing on the architectural sculptures that he refers to as "pavilions." The screening followed a reception.
EAI was pleased to collaborate with Anthology Film Archives to present two
tribute programs featuring the work of Jud Yalkut (1938-2013). Yalkut's moving
image work transcended and transformed media as he explored and merged film,
video, expanded cinema, performance, and installation. This approach embodied
the "intermix" that was at the core of Howard Wise's founding manifesto for
EAI. Jud Yalkut was a multi-media pioneer whose radical films and videos
remain as trippy and innovative today as they were back then. Born and raised
in NYC, Yalkut studied literature before turning to experimental cinema in the
Starting in 1966 and continuing into the 1970s, he collaborated with Nam June Paik on a series of significant video-film pieces, creating extraordinary conversations between the medium of film and the electronic manipulations of video. These ideas extended to kinetic reworkings of performances and art events, as seen in his 1973 video realization of Paik and Charlotte Moorman performing John Cage's 26'.1.1499' FOR STRING PLAYER, and his digital rendering of Moholy-Nagy's 1930 kinetic sculpture LIGHT-SPACE MODULATOR. These two screenings at Anthology Film archives featured some of Yalkut's best-known works alongside an exciting array of never-before-seen footage.
Electronic Arts Intermix (EAI) presented a screening and artist talk with pioneering media artist Anthony Ramos, whose powerful video works join art with activism. In this rare New York appearance, Ramos screened a series of early video works from the early 1970s, which have been newly preserved by EAI. In these rarely seen pieces, Ramos engaged in direct performances for the camera that confront the politics of race and identity. Other groundbreaking works merge documentary, performance, and mass media imagery in incisive cultural critiques. The evening featured Black & White, an early two-channel video installation, and the premiere preview of Decent Men, a video piece created over almost forty years, in which Ramos delivers an extended monologue on his eighteen-month prison term for resisting the draft during the Vietnam War.
Electronic Arts Intermix (EAI) hosted a panel and screening in conjunction with the exhibition Videofreex: The Art of Guerrilla Television at The Dorsky Museum, organized by Andrew Ingall. This event emphazized the bold interdisciplinary nature of the collective's projects, with a special focus on Videofreex founding member David Cort, who edited several of his key video works at EAI in the 1970s. Selections of Cort's video work, representing his use of video as an interactive tool for electronic imaging exploration, provided a catalyst for the panel discussion. Panelists included original Videofreex member Davidson Gigliotti, artist and Cort collaborator Shalom Gorewitz, and LoVid, a media art duo who represent a new generation of artists who have been influenced by the interdisciplinary practices of Cort and the Videofreex.
You are cordially invited to join us in West Chelsea to celebrate extraordinary artists and works that are newly available through EAI's catalogue, and to preview our new educational streaming site. A program of works by artists Merce Cunningham, Jacolby Satterwhite, Leslie Thornton, C. Spencer Yeh, and Cynthia Maughan will be screened throughout the evening, and staff will be on hand to demo EAI's Educational Streaming Service.
If you attend the CAA Conference at the New York Hilton, please visit the Gibson Room on the second floor for two programs of works from the EAI catalogue, which are screening as part of the Media Lounge/ARTspace project Alternative Economies. The programs, include works by Peggy Ahwesh, Cory Arcangel, Dara Birnbaum, Jacob Ciocci, JODI, Andrew Lampert, Kalup Linzy, Kristin Lucas, Shana Moulton, Seth Price, Paul Slocum, Leslie Thornton, Ryan Trecartin, and C. Spencer Yeh. An informal conversation with co-curators Rachael Rakes and Jenny Marketou, EAI's Director of Distribution Rebecca Cleman, and several of the artists will be held on Thursday February 12 from 4:00 pm - 5:30 pm. These screenings are free and open to the public.
Electronic Arts Intermix (EAI) presented an artist talk and screening with New York-based artist C. Spencer Yeh, whose interdisciplinary art bridges projects in sound composition, improvisational performance, and experimental video. In this special hybrid event, which launched EAI's distribution of his moving image work, Yeh explored the relationship of music and video in his art. Yeh screened several video works, including Scrub Study and Eclipse (both 2009), which acclaimed musician and composer Nate Wooley accompanied live. The evening also featured a special "listening" premiere of Yeh's forthcoming LP, Solo Voice I - X, to be released by Primary Information this spring. This presentation was followed by a conversation between Yeh, Primary Information's James Hoff, and EAI's Director of Distribution Rebecca Cleman.
EAI and The Sagamore Hotel in Miami Beach presented Screen Play: Moving Image Art, a special exhibition of moving image artworks for the public spaces of the hotel during Art Basel Miami Beach. Screen Play, guest curated by Lori Zippay, EAI's Executive Director, brought together video, film, and digital artworks drawn from the EAI collection across six decades. These works highlighted the cross-disciplinary relation of the moving image to other artistic media and formsperformance, photography, painting, drawing, sculpturewhile also exploring the distinctive vocabularies of video, film, and digital media. The public encountered artists' moving image works in multiple public spaces of the hotel, as well as a dedicated "EAI TV Channel" for the hotel guest rooms.