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Electronic Arts Intermix (EAI) is pleased to present a selection of works recently added to our distribution catalogue. The evening takes its title from Richard Serra's Paul Revere (1971), an exploration of communications theory taking its cue from Revere’s encoded lantern signals devised during the American revolution. This event also celebrates the introduction of Lynn Hershman Leeson's video works into EAI’s distribution catalogue. Videos in this screening share an interest in mediation, semiotic play, and the political and historical role of documentation as artists experiment with film and video as tactics for collective exchange.

In this selection of videos, artists use their cameras to interrogate how technology reinforces collective and individual identities, and the position of the media consumer within American capitalism. Serra, in collaboration with Joan Jonas and adapting her performance Choreomania (1971), methodically examines the seemingly simple alert system described by Henry W. Longfellow’s phrase “one if by land, two if by sea,” exposing the complexities, disjunctures, and collective agreements latent within it. Hershman Leeson’s Commercial For Myself (1978) is an intervention into public broadcasting, introducing the artist to a broad television audience in the form of a commercial, likening her persona as an artist to an everyday commodity. Burt Barr similarly considers the role of the artist in consumer culture in With Special Thanks (1986), a fictional narrative describing the narrator’s comical year of international travel preceding the purchase of his current video recording setup with credit card rewards. Hershman Leeson’s Desire Inc. (1990) extends her work with televised advertisements—this time, depicting an unnamed seductress inviting viewers to call her. Hershman Leeson interviews respondents about their desire to meet the model under the guise of fantasy and the construction of womanhood as a commodity within American culture. Finally, Barbara Hammer’s Pictures 4 Barbara (1980), a 16mm epistolary film referencing the correspondence between Hammer and writer Barbara du Bois, depicts Barbara and Barbara’s connection as nurtured through shared polaroids and moving fragments of their lives.



Electronic Arts Intermix (EAI)’s venue is located at 264 Canal Street, 3W, near several Canal Street subway stations. Our floor is accessible by elevator (63" × 60" car, 31" door) and stairway. Due to the age and other characteristics of the building, our bathrooms are not ADA-accessible, though several such bathrooms are located nearby. If you have questions about access, please contact cstrange@eai.org in advance of the event.

For the third installment of EAI Invites, Electronic Arts Intermix (EAI) is pleased to welcome Martha Wilson, the pathbreaking feminist artist and founding director of Franklin Furnace. Noting that “most people are interested in sex” and the subject’s subsequent broad appeal, Martha Wilson has selected sexually explicit and audacious work from the collections of both EAI and Franklin Furnace, exploring human relations from multiple perspectives. Works screened will include Post Porn Modernist, a 1990 performance by Annie Sprinkle, along with a selection of film and video by Ellen Cantor, Barbara Hammer, Mike Kelley, Cynthia Maughan, Bruce Nauman, Carolee Schneemann, and Julie Zando.

Purchase tickets here.

EAI is pleased to announce its first-ever Benefit Art Auction, to be held on Thursday, April 19. This special event will raise essential funding towards our mission of preserving and providing access to media art’s rich legacies, while fostering powerful new voices.

silent auction hosted by P·P·O·W
535 West 22nd Street, 6th floor, New York, NY

cocktail reception & screenings at EAI
535 West 22nd Street, 5th floor, New York, NY

online bidding available on Artsy

Tickets: $7, $5 students, free for members.

Electronic Arts Intermix (EAI) is pleased to present an evening with Barbara Hammer, organized on the occasion of Barbara Hammer: Evidentiary Bodies, a major retrospective at the Leslie-Lohman Museum of Gay and Lesbian Art and venues throughout New York City. Hammer’s work over five decades is pioneering for its focus on lesbian desire and relationships, and also for its extraordinary formal innovations across media. This screening and artist talk at EAI will formally launch EAI's distribution of Hammer’s moving-image work, and will spotlight the artist’s use of video, early computer animations, and an Internet-based project.

Following the screening, Hammer will be in dialogue with film and media curator Sally Berger, and will give a demonstration of her echonyc.com/~lesbians Internet project, which offered individuals a communal, anonymous platform for expressing and sustaining lesbian desire and identity—a vital and nurturing endeavor that is in keeping with Hammer’s tremendous influence and contribution.

Presented as part of Printed Matter, Inc.'s New York Art Book Fair in the MoMA PS1 Auditorium. Free admission!

To mark the publication of Capricious's ELLEN CANTOR: I’m Still Coming, EAI and Capricious present a screening of film and video work by artists originally featured in Cantor’s groundbreaking 1993 exhibition Coming to Power: 25 Years of Sexually X-Plicit Art by Women. Cantor’s own video work will screen, along with film and video by Peggy Ahwesh, Cheryl Dunye, Barbara Hammer, and Carolee Schneemann. An informal talk with I’m Still Coming editors and co-curators of the 2016 re-staging of Coming to Power, Pati Hertling and Julie Tolentino, about late friend, artist and provocateur Cantor will follow – taking in their own 2016 re-staging of her Coming to Power exhibition, their new publication, performances, archival materials, and feminist writers – then and now. They will be joined by contributing writers Ashton Cooper, Clara López Menéndez, Amalle Dublon & Constantina Zavitsanos, and Vivian Crockett.

Peggy Ahwesh, The Color of Love, 1994, 10 min, color, sound, 16 mm film on video
Ellen Cantor, Ode to Life (Minuet in G Major), 1997, 3 min, b&w, sound, video
Cheryl Dunye, Vanilla Sex, 1992, 4 min, b&w, sound, video
Barbara Hammer, Dyketactics, 1974, 4 min, color, sound, 16 mm film on video
Carolee Schneemann, Water Light/Water Needle (Lake Mah Wah, NJ), 1966, 11 min, color, sound, 16 mm film on HD video

Running time: 32 minutes

Image: The Color of Love, Peggy Ahwesh, 1994.