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