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 is pleased to partner 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 will also spotlight 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 will be 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 join 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 screens 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
EAI partnered with the Migrating Forms Festival to present a program of works that highlight Merce Cunningham's choreography for camera, featuring his close collaboration with artist and former Cunningham filmmaker-in-residence Charles Atlas, with whom he created a new and influential hybrid art they called "video-dance." The program also included a collaboration with Atlas, Nam June Paik, and Shigeko Kubota, staged for public television. Following the screening, Charles Atlas was in conversation with EAI?s Director of Distribution, Rebecca Cleman.
EAI celebrated the publication of Running n Chanting n Falling n Ranting, a new 257-page book by artist, composer and musician Charlemagne Palestine. Focusing on Palestine's extraordinary body of performance videos from the early 1970s to the present, this artist book featured an interview between Palestine and Serpentine curator Hans Ulrich Obrist, an introduction by EAI Executive Director Lori Zippay, and 204 images from his video works. During the launch event, EAI screened Where It's Coming From (1977, 56:50), an extended video conversation between Palestine and Wies Smals that becomes a performance in its own right. The event concluded with a short surprise performance by Palestine.
EAI presented a special evening devoted to the work of radical art and theater collective Squat Theatre, whose performances in the late 1970s and early 1980s questioned role playing, the act of spectatorship, and the boundaries between art and life, the fictive and the real. The screening at EAI was presented in collaboration with the Whitney Museum of American Art, where an installation by Squat Theatre is included in the exhibition Rituals of Rented Island: Object Theater, Loft Performance, and the New Psychodrama--Manhattan, 1970-1980, organized by Jay Sanders, the museum's Curator and Curator of Performance (on view Oct. 31, 2013 - Feb. 2, 2014).
The evening features a screening of the extraordinary two-part video Mr. Dead and Mrs. Free (1981, 83 min). Capturing one of Squat Theatre's key theatrical productions, Mr. Dead and Mrs. Free included video documentation of their live show of the same name as well as a film by the collective (originally played at the beginning of the show) that provides an astonishing glimpse of New York's downtown underground in the early '80s. Afterwards, Eva Buchmuller and Anna Koos from Squat Theatre joined Jay Sanders and EAI's Rebecca Cleman to discuss the collective's legendary history and iconoclastic approach to theater.
For nearly fifty years Eleanor Antin has worked in performance, photography, film, video and installation, creating humorous and often tragic works grounded in complex narratives. From 1972 to 1991, she focused on inventing personae of different genders, races, professions, historical eras and geographic locations. This motley group, which included a deposed king, an exiled film director, ambitious ballerinas and dogged nurses, were known as her "selves." The selves' manifestations were as diverse as their stories, taking form in a wide range of media. In conjunction with the exhibition Multiple Occupancy: Eleanor Antin's "Selves," at Columbia University's The Miriam and Ira D. Wallach Art Gallery, a program of selected works explores the ways that video animated the selves, giving life to Antin's interest in story-telling, identity and historical play. The program will be introduced by Emily Liebert, Multiple Occupancy curator, and Lori Zippay, Electronic Arts Intermix Executive Director. On this evening the Wallach Art Gallery will be open until 6:00 pm so that the audience has a chance to visit the exhibition before the screenings.
This event is free, open to the public and held at The Wallach Art Gallery, 8th Floor, Schermerhorn Hall, on Columbia University's Morningside Heights campus, 116th Street and Broadway.
"Selves on Screen" is presented by The Miriam and Ira D. Wallach Art Gallery, Columbia University School of the Arts, Electronic Arts Intermix (EAI) and Art21.
EAI paid tribute to pioneering intermedia artist and filmmaker Jud Yalkut (1938-2013) with a daylong celebration of his extraordinary moving image art. EAI screened twenty of Yalkut's short film and video pieces, spanning the years 1965 to 2002, from early performance renderings and poetic filmic experiments to his groundbreaking video-film collaborations with Nam June Paik.
Paik and Yalkut's iconic video-film hybrids, including Videotape Study No. 3, Beatles Electroniques and Cinema Metaphysique, were shown together with Yalkut's kinetic reworkings of seminal performances and art events, including his visions of the 1966 and 1969 Avant-Garde Festivals; his vibrant 16mm film of the landmark 1969 exhibition TV as a Creative Medium; a 1973 video realization of Paik and Charlotte Moorman performing John Cage's 26'.1.1499" for String Player; and his digital rendering of László Moholy-Nagy's 1930 sculpture Light-Space Modulator, among others.
EAI presented a screening and talk with artist Liz Magic Laser. Laser's work in performance and video reverses the media's spotlight, shining a critical light on the people and methodologies working behind the scenes to construct persuasive statements, beliefs and political action. Laser's art asks questions about the use of public relations practices in business, politics and journalism.
Laser presented recent works that investigate the techniques and tropes of the news media, including the American premiere of her most recent video, Public Relations / Öffentlichkeitsarbeit (2013), in which she turns "man-on-the-street" interviews with the public into a new kind of critical theater.
EAI participated in The NY Art Book Fair at MoMA PS1, organized by Printed Matter. EAI's first-floor booth featured DVDs, boxed sets and publications by artists including Ant Farm, Cory Arcangel, Michael Bell-Smith, Zoe Beloff, Bernadette Corporation, Merce Cunningham, Jaime Davidovich, Cheryl Donegan, Dan Graham, Alex Hubbard, Ken Jacobs, Mike Kelley, Kalup Linzy, Shana Moulton, Jayson Scott Musson, Charlemagne Palestine, Seth Price, Martha Rosler, Shelly Silver, Michael Smith, William Wegman, Lawrence Weiner and The Wooster Group.
Uncanny Valleys was a special summer screening of new and recent video works by young artists exploring the formal, conceptual, and critical possibilities that emerge from interaction with unfaithful simulations, imperfect replication, and the slightly wrong. On a graph plotting emotional response to human likeness, the "uncanny valley" is a region of profound visceral unease elicited by simulated human features that look, move, or behave in ways that are almost, but not quite, natural. Uncanny Valleys featured videos that deploy inauthentic likenesses of human beings or deliberately skewed or bootleg versions of fictional characters, as well as inexact or differential copies of images, objects, and places. Casting a wide net with this metaphor, the videos in the screening program ask questions about how flawed proxies can be deployed for formal experimentation or social, economic, and political critique.
The program included works by artists Oliver Laric, Liz Magic Laser, Ilya Lipkin & Joen Vedel, Takeshi Murata, Rachel Rose, Georgia Sagri, Shanzhai Biennial, Pilvi Takala, and Stewart Uoo.
EAI presented Warp Drives, a special summer screening of videos driven by science fiction's far-out forms of matter and energy. In videos that ranged from dark stories of doomsday and destruction to speculative meditations on technological evolution and alienation, artists Peggy Ahwesh, Joan Jonas, George Kuchar, Tony Oursler, and Ryan Trecartin confronted the viewer with visions of individuals disconnected from the present or inhabiting alien psychological states.
EAI presented a special evening devoted to the early films and videos of Dennis Oppenheim. Focused on Oppenheim's body-based performances of the 1970s, the screening was introduced by curator Jenny Jaskey, who spoke about the implications of Oppenheim's work for a new generation of artists approaching the body as a site and material for art-making. Following the screening, Jaskey moderated a conversation with New York-based artists A.K. Burns, Ajay Kurian and Yve Laris Cohen. Together, they reflected on Oppenheim's legacy and discussed the body's relationship with the inanimate and non-human in contemporary practice.
Please join EAI for Participation, a special three-hour video program that will be screened continuously from noon-6pm on Friday, May 10th and Saturday, May 11th. Featuring works by Steina and Woody Vasulka, Ant Farm, Charlotte Moorman and Jud Yalkut, Carolee Schneemann, and Jean Dupuy, Participation looks to a period during the late 1960s and early 1970s that saw a profusion of artist-initiated projects, collaborative experimentation, and an inclusive, improvisational ethos. The screening features rare footage of performances and happenings, pioneering video documents, and experimental participatory works, capturing a community of young artists responding to the countercultural sensibility and social transformations of that era. Using newly available portable video technology as well as 16mm film, these artists created extraordinary documents that allow viewers in 2013 to experience something of the multi-disciplinary, interactive and process-based spirit that defined the alternative artistic and cultural scenes of that time.
EAI is pleased to present a screening and artist talk with Alex Hubbard, whose signature videos involve carefully choreographed and dynamically composed studio experimentation with objects, paint, comedic timing and destruction.
Hubbard will premiere two new short videos that depart from familiar territory, projecting his ideas beyond the studio. These new works are sketches for a larger feature-length project, currently in development with curator and writer Jay Sanders and playwright Richard Maxwell. The program also features studio-based videos made within the last year, including Hit Wave (2012), Eat Your Friends (2012), and Bottom of the Top (2012), as well as earlier works and rarely seen experiments.
Hubbard will be present to speak about his work and future plans, concluding with a Q&A with the audience.
Cheryl Donegan joined EAI to present a selection of works from the 1990s to the present, from iconic lo-fi performance videos such as Head (1993) and Practisse (1994) to rarely screened works and the premiere of a new fashion-inspired piece, Blood Sugar (2013), which was shown at EAI with a live performance element. Following the screening program, she appeared in conversation with EAI's Josh Kline.
EAI proudly presented the premiere screening of Exchange (1978/2013, 40:19 min), artist Charles Atlas' newly completed film based on the 1978 dance piece of the same name by legendary dancer/choreographer Merce Cunningham (1919-2009). Atlas—one of the foremost interpreters of dance, theater and performance on video and film—created the new film Exchange from never-before-seen footage that he shot in 1978 and that was only recently rediscovered by the Merce Cunningham Trust (MCT). The film captures a performance of Exchange by Cunningham and his company, with costumes and backdrop designed by Jasper Johns and music by David Tudor. Two of Atlas' earliest short films were screened before Exchange: More Joints (1972), featuring Cunningham's ankle in a starring role; and Nevada (1973), in which dancer and choreographer Douglas Dunn performs. Atlas introduced the screening and spoke about his long collaborative relationship with Cunningham.