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.
CONVERSATIONS AT DIA:BEACON: Nancy Holt, Joan Jonas, Anthony Ramos, and Paul Ryan with Lori Zippay
PRESS: New York Times, Frieze Magazine, Bullett
PHOTOS: Circa 1971 Gallery Talk with Lori Zippay, February 2012
Dia Art Foundation presented Circa 1971: Early Video & Film from the EAI Archive at Dia:Beacon, Riggio Galleries. Circa 1971 brought together 20 moving image works from EAI's collection of over 3,500 media artworks. Celebrating EAI's 40th anniversary, the exhibition was organized by guest curator Lori Zippay, Executive Director of EAI.
Circa 1971 included pieces by Vito Acconci, Eleanor Antin, Ant Farm, John Baldessari, Lynda Benglis, Shirley Clarke, Dan Graham, Nancy Holt and Robert Smithson, Joan Jonas, Gordon Matta-Clark, Nam June Paik, Raindance, Anthony Ramos, Carolee Schneemann, TVTV, Steina and Woody Vasulka, and others.
Taking the year of EAI's founding as its point of departure, the exhibition set in dialogue a series of diverse works created in and around 1971, which are linked by alternative artistic and activist impulses. Circa 1971 exposed the generative encounters among these artists and influences and initiates unexpected correspondences between seemingly disparate works.
EAI presented a screening and panel discussion about the films of David Wojnarowicz. Centering around the rarely screened Beautiful People (1987) and a working soundtrack for A Fire in My Belly (1986-87), the event focused on an under-recognized aspect of Wojnarowicz's films and art: his plans and preparations for soundtracks. Rebecca Cleman, EAI's Director of Distribution, moderated a discussion with Wojnarowicz's former bandmate Doug Bressler, who was collaborating on a Fire in My Belly soundtrack with the artist; Cynthia Carr, author of Fire in the Belly: The Life and Times of David Wojnarowicz; Brent Phillips, Media Specialist & Processing Archivist of Fales Library, and filmmaker Tommy Turner. A screening of Beautiful People, a collaboration with Jesse Hultberg that was originally presented with live accompaniment at La MaMa, and an excerpt of A Fire in My Belly with sound component preceded the discussion.
EAI collaborated with the Times Square Alliance to present Takeshi Murata's extraordinary digital animation in Times Square. Murata's Melter 2 (2003), an abstract experiment in hypnotic movement and color, was screened as an immersive, multi-channel installation on a monumental scale: the piece flowed across fourteen of the Square's iconic outdoor video signs simultaneously - more than 36 screens and 63,500 square feet of screen space between 42nd and 47th Streets. Every night in November, just before midnight, Murata's graphic vision filled Times Square with an exuberant, rippling landscape of digital color.
Takeshi Murata's colorful and sensuous animation offered visitors to the square three minutes of pure visual pleasure, indomitable motion and dynamism. This presentation of Melter 2 was part of Times Square Moment: A Digital Gallery, the ongoing public video project organized and presented by the Times Square Advertising Coalition (TSAC) and Times Square Arts, the public art program of the Times Square Alliance.
Sound Stage was a special Saturday afternoon screening program featuring artists' videos that are driven by music performance. Sound Stage was presented as part of Chelsea Sound: A Not-For-Profit Festival of Artists in Sound, organized jointly by Printed Matter Inc., Eyebeam Art + Technology Center, Electronic Arts Intermix and Family Business. Taking place in Chelsea's Gallery District on Saturday, October 27th, the collaboratively produced festival included a series of performances, sound installations, and video screenings throughout the day across four venues.
Featuring works from the last four decades by a diverse group of artists, Sound Stage presented a program of videos that foreground musical performance. The screening embraced artists' documentation of music performances, artists' performances that incorporate live music, and works created for the camera and screen in which musicians take center stage.
Artists Nancy Holt, Joan Jonas, Anthony Ramos, and Paul Ryan joined EAI Executive Director Lori Zippay for a dialogue at Dia:Beacon on the generative artistic and political landscape that influenced the video art scene of the early 1970s. The four artists also discussed their works included in exhibition Circa 1971: Early Video & Film from the EAI Archive.
EAI collaborated with High Line Art, a program of Friends of the High Line, to celebrate the John Cage Centennial with a special outdoor presentation of Cage's film and sound composition One11 and 103 (1992) on the High Line, New York City's acclaimed elevated public park. EAI's presentation of Cage's One11 and 103 launched High Line Channel 14, a new outdoor video program featuring daily screenings in the passageway above West 14th Street on the High Line.
EAI returned to Times Square to present Buoy (2008), Seoungho Cho's luminous tribute to the California desert, as a massive multi-channel installation on a monumental scale: the piece was presented on fourteen of the Square's iconic outdoor video signs—more than 36 screens and 63,500 square feet of screen space between 42nd and 47 Streets—simultaneously. This presentation of Buoy was part of Times Square Moment: A Digital Gallery, the ongoing public video project organized and presented by the Times Square Advertising Coalition (TSAC) and Times Square Arts, the public art program of the Times Square Alliance. Screened every evening in June, just before midnight, Cho's visually stunning moving image work turned Times Square into an immersive virtual canyon, surrounding the viewer with a Western landscape captured in motion, light, and digital transformation.
EAI presented a screening and talk with artist Martha Colburn. Over the last two decades, Colburn has created a constellation of intricate, politically charged animated worlds on film, using rigorous stop-motion animation, armies of found images and objects, and copious amounts of paint, glass, and tape. At EAI, Colburn screened and spoke about a selection of recent films that explore war, conquest, faith, and history—taking in America's recent military experiences in the Middle East along the way—as well as early and rarely seen found-film and animation experiments, music video projects, and a 2011 animated PSA on fracture mining (fracking) in New York State.
EAI is proud to present Raymond Pettibon's Sir Drone (1989, 55:37 min), featuring Mike Kelley, at Migrating Forms. Shot in two days on home-video equipment, with dialogue read off cue cards, Sir Drone is part of a series of feature-length, low-tech video narratives that Pettibon made in the late 1980s focused on West Coast American radical subjects of the 1960s and 1970s. In Sir Drone, Mike Kelley and musician Mike Watt (of the legendary hardcore band Minutemen) play two teenage punks trying to start a band in the 1970s. They struggle to create the right image for themselves and their band, debating bands' names, the distinctions of punk and hippie music, and strategies to avoid being "rinky dink." Writing about Sir Drone, Mike Kelley stated, "Despite their crudeness, Raymond's tapes are strangely moving: he is a brilliant script writer."
Sir Drone will be accompanied by two lo-fi works involving teenagers and music by Cory Arcangel: Insectiside (1992-03, 7:29 min) and Message my Brother Justin Left Me on my Cell from the Slayer Concert Last Week (2004, 2:27 min).
EAI presented an evening with Jayson Scott Musson, the artist behind the viral video performance phenomenon Hennessy Youngman. Speaking about his work for the first time in New York, Musson discussed ART THOUGHTZ, the episodic Internet series that he hosts as Hennessy Youngman. Musson also premiered two new ART THOUGHTZ videos at EAI—The Studio Visit (2012) and Grad School (2012)—in addition to screening earlier works from the series, including Bruce Nauman (2010), How To Be A Successful Artist (2010), On Beauty (2011), and Relational Aesthetics (2011), among others. Following the screening, Musson joined in a conversation with Josh Kline of EAI and spoke about the origins of Hennessy Youngman—how he developed the character's comedic persona as a critical voice, how making rap music influenced his work as an artist, and about his use of the Internet as a platform for direct video performance.
Electronic Arts Intermix (EAI) and Dia Art Foundation paid tribute to Mike Kelley with a daylong screening of his remarkable video works, many of which were created with collaborators such as Paul McCarthy and Michael Smith. The twelve-hour program, presented in coordination with the Mike Kelley Foundation for the Arts, included the screening of such seminal work as The Banana Man (1983); Heidi (1992), made in collaboration with Paul McCarthy; Superman Recites Selections from 'The Bell Jar' and Other Works by Sylvia Plath (1999); Extracurricular Activity Projective Reconstruction #1 (Domestic Scene) (2000); Day Is Done, Part 1 (2005-2006); as well as the recent work A Voyage of Growth And Discovery (2011), made in collaboration with Michael Smith.
In a rare New York speaking appearance, JODI (Joan Heemskerk and Dirk Paesmans) took part in a presentation and conversation with independent curator Michael Connor and computer programmer, composer, and artist Cory Arcangel. JODI are pioneers of Web-based art who have been called the monkey wrench in the works of the digital revolution. At EAI, they presented a selection of their digital interventions, including videos, custom software, hacked video games, and Internet-based works.
The Moving Image Contemporary Video Art Fair partnered with EAI to support the new Friends of EAI Membership Program with an information station at the fair and special programming, including a presentation by EAI Executive Director Lori Zippay on EAI's video preservation program on Friday, March 9th and a panel on collecting video, moderated by EAI Distribution Director Rebecca Cleman on Saturday March 10th. At Moving Image, EAI presented Ken Jacobs' A Loft (2010, 16:48 min, color, HD video), a new video from an ongoing series of innovative digital works exploring depth perception and 3-D animation.
Lori Zippay, Executive Director of EAI and guest curator of Circa 1971: Early Video & Film from the EAI Archive, presented a Gallery Talk on the exhibition at Dia:Beacon on Saturday, February 11th. Organized on the occasion of EAI's 40th anniversary, Circa 1971 brings together more than 20 single-channel works from one of the world's most comprehensive collections of video art. Taking the year of EAI's founding as a point of departure, the exhibition sets in dialogue a series of diverse works linked by alternative artistic practices and activist impulses. Circa 1971 presents a snapshot of a cultural moment—or, more accurately, a countercultural moment—and the fertile political and artistic landscape from which these works emerged.
Focused on Oursler's single-channel video works, the screening program followed his wildly inventive exploration of narrative, visuals and sound across four decades, from his rarely seen, earliest video pieces of the late 1970s to recent work created in collaboration with musicians such as Sonic Youth, David Bowie and Beck. Following the screening, Oursler appeared in conversation with EAI Executive Director Lori Zippay.
EAI was pleased to collaborate with High Line Art, a program of Friends of the High Line, to present Gordon Matta-Clark's 1976 City Slivers on the High Line, New York City's acclaimed elevated public park. The presentation of Matta-Clark's City Slivers launched High Line Channel, a new outdoor video program featuring daily screenings. City Slivers was originally created by Matta-Clark for projection on the exterior façade of the Municipal Building in Lower Manhattan. The piece is an ode to New York City's landscape and a dynamic formal investigation of the city's urban architecture.
City Slivers was projected on a building to the east of the High Line at West 22nd Street, where it was visible from the park's Seating Steps, as well as the sidewalk on West 22nd Street—less than a block from EAI.