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 present 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, brings together video, film, and digital artworks drawn from the EAI collection across six decades. These works highlight 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 will encounter artists' moving image works in multiple public spaces of the hotel, as well as a dedicated "EAI TV Channel" for the hotel guest rooms.
EAI partnered with the Times Square Advertising Coalition (TSAC) and Times Square Arts to present Charles Atlas and Antony's You Are My Sister (TURNING). Atlas and Antony joined forces to create a special remix, which was shown on Times Square's electronic billboards from 11:57 pm to midnight each night in December leading up to New Year's Eve, as part of Midnight Moment. For Times Square, Atlas created a special remix of his vivid, multi-dimensional video portraits of women, which were originally processed and projected live as part of TURNING, a performance collaboration with Antony. In the live performances, Atlas' video visualization was paired with Antony's song "You Are My Sister," and his images mirror the lyrics' powerful message of strength, sisterhood, and transcendence.
EAI partnered with the Migrating Forms Festival to present The Irish Tapes, produced by John Reilly and Stefan Moore in association with Global Village. This rarely screened work is an hour-long edit culled from over 100 hours of footage from Northern Ireland, profiling one of the most volatile moments in the decades-long conflict. From 1971 to 1973, Reilly and Moore recorded documentation on 1/2" videotape that offered an immediacy, intimacy, and subjectivity that was then rare in broadcast television journalism. To introduce the screening, John Reilly's son, Lars Reilly was in conversation with EAI's Director of Distribution, Rebecca Cleman.
Electronic Arts Intermix (EAI) presented an artist talk and conversation with multi-disciplinary artist Jacolby Satterwhite. In dynamic video works that bring together 3-D animation, drawings, and live performance elements, Satterwhite explores themes of memory, desire, personal and public mythology. Creating fantastical digital landscapes that are populated with multiple costumed avatars of himself, Satterwhite engages with hand-drawn objects and text as extensions of the body, in a seamless exchange between live performance and constructed worlds. Satterwhite screened new works in progress and discussed his practice and process in performance and digital animation, followed by a question-and-answer session moderated by artist and writer Carolyn Lazard. This event launched EAI's distribution of Satterwhite's moving image work.
Deutsches Haus and Electronic Arts Intermix (EAI) presented the work of filmmaker and television art pioneer Gerry Schum in two evenings of rare screenings. From 1968 to 1970, Schum produced and broadcast original artist films on German television, through his Fernsehgalerie (TV Gallery) Gerry Schum. Schum's Fernsehgalerie enlisted artists to conceive artwork specifically intended for viewing on TV. This radical model bypassed traditional institutions with the direct dispersal of artwork into the domestic space.
EAI participated in The NY Art Book Fair at MoMA PS1, organized by Printed Matter. EAIs second-floor booth featured publications, boxed sets, vinyl recordings and special items by artists including Michael Bell-Smith, Zoe Beloff, Merce Cunningham, Charlemagne Palestine, Martha Rosler, Michael Smith, William Wegman, The Wooster Group, and C. Spencer Yeh, among many others.
Continuing the tradition of its annual summer group shows, EAI hosted a free evening spotlighting emerging artists alongside recent and historical works from the EAI collection. This program was structured like a late-summer mixtape rallying against the fleeting season: a deftly sequenced flow of bangers, classics, deep cuts, and hidden gems.
EAI presented a screening and conversation with Stanya Kahn, whose video works draw on the artist's interdisciplinary approach to performance, filmmaking, writing and sound design. A selection of Kahn's videos, including It's Cool, I'm Good, Arms Are Overrated, For the Birds, and a trailer for her new feature, Don't Go Back to Sleep, followed by a conversation between Kahn and critic and curator Ed Halter.
Anthology Film Archives and EAI once again fired up the occasional series All Circuits On to pay homage to recently departed media artists and theorists Douglas Davis and Paul Ryan, both of whom were major figures in the Marshall McLuhan-influenced dawn of video and personal television that All Circuits On was created to celebrate.
EAI hosted a special evening devoted to the New York-based experimental theater and media ensemble The Wooster Group. For over thirty years, this company of artists has explored the interplay between media and live performance, transgressing traditions of theater and dance on stage while also experimenting with single-channel video and media installations. A screening of selections from the group's theatrical productions and videos -- many of them rarely seen -- was followed by a conversation between Wooster Group director and co-founder Elizabth LeCompte and Hilton Als, Theater Critic for The New Yorker.
Spring came to the High Line in the exuberant form of Shigeko Kubota's iconic video work, Rock Video: Cherry Blossom (1986). EAI was pleased to collaborate with High Line Art, a program of Friends of the High Line, to present Kubota's silent video on High Line Channel 22. This outdoor screening, projected on a building to the east of the High Line at West 22nd Street, was visible from the park's Seating Steps as well as from the sidewalk below. Rock Video: Cherry Blossom was on view daily from Thursday, March 13 through Monday, April 20, 2014 from 6:00 to 11:00 PM.
EAI paid tribute to artist Nancy Holt (1938-2014) with a daylong celebration of her extraordinary film and video works. EAI screened twelve of Holt's moving-image pieces, which span the years 1968 to 2013, honoring her life through a daylong immersion in her work.
A pioneer of earthworks and land art, Holt is perhaps best known for her large-scale environmental sculptures and public art projects. Beginning in the late 1960s, Holt created a significant body of film and video works that explore perception and memory through experiments with point of view and process. Holt's early videos include some of the most important and iconic works in the medium. Among the pieces that were screened were pivotal videos such as Underscan (1976) and Revolve (1977), the evocative landscape film Pine Barrens (1975), and several key collaborations with Robert Smithson, including Swamp (1971) and East Coast West Coast (1969). Covering a span of forty-five years, the screening will include Holt's Mono Lake, which she originally recorded in 1968, as well as her final piece, the 2013 The Making of Amarillo Ramp.
EAI partnered with Salon 94 to present the New York City premiere of OM Rider (2013, 11:39 min), a new computer-animated video by Takeshi Murata. To celebrate this new work, which represents one of the most integral collaborations yet with composer/sound designer Robert Beatty, this special evening also spotlighted the artist's other recent creative partnerships, including Murata's video for Oneohtrix Point Never's "Problem Areas" (2013, 3:07 min) and Night Moves (2012, 6:02), made with Billy Grant. The screenings was followed by a conversation with Murata and Beatty and a live performance by Beatty and C. Spencer Yeh, who provides vocal work in OM Rider.
Anthology and EAI joined together to present a program featuring some of our favorite film and video works by Carolee Schneemann. These pieces center on Schneemann's physical approach to filmmaking as well as her feline fixations. The program screened in tandem with Breaking the Frame, Marielle Nitoslawska's engrossing and insightful portrait of Schneemann's multimedia work and uncharacterizable life.
EAI partnered with the Merce Cunningham Trust (MCT) to present a screening of Assemblage (1968, 58:03 min), a recently rediscovered lost film by legendary American dancer and choreographer Merce Cunningham. Unseen for decades, Cunningham's lush, kaleidoscopic dance film was reintroduced to the public at EAI in a special screening introduced by Alastair Macaulay, Chief Dance Critic of the New York Times.
A collaboration with director and former dancer Richard Moore, Assemblage features Cunningham dancing with his company in a public happening in San Francisco's Ghirardelli Square in November 1968. Cunningham's riveting performance—conceived from the beginning as a dance staged for the camera—is amplified by Moore's astonishing special effects and a soundtrack by John Cage, David Tudor and Gordon Mumma. Rediscovered after Cunningham's death, Assemblage was transferred from 16mm and colorized by artist and filmmaker Charles Atlas, himself a longtime collaborator of Cunningham's.
Image: Merce Cunningham and Dancers in Assemblage (1968) Photo © James Klosty, courtesy of the Merce Cunningham Trust