Public Programs
Past Public Programs
Full Disclosure: Selected Video-Performances 1972-75
Electronic Arts Intermix (EAI)
eai.org
Electronic Arts Intermix (EAI) hosts an online streaming program of a selection of Anthony Ramos’s video-performances circa 1972-1975, a fertile period for the artist then based in Los Angeles. Ramos’s interest in time and duration stems in part from his long friendship with Allan Kaprow, with whom he studied and worked under as a teaching assistant, and who housed him following his imprisonment for conscientious objection. Ramos met Kaprow while a student at the Southern Illinois University and participated in a handful of the artist’s iconic “happenings,” including the ambitious 1967 event Fluids,, which involved the construction of several intricate igloos across Pasadena. He was later part of a coterie of West coast figures inspired by Kaprow to mount their own interventions—Ramos often staged prankish, ephemeral art events with fellow artists Joe Ray and Lowell Darling, who appear in the two plastic bag videos. A key theme for Ramos is tension and discomfort: his fatigue during Balloon Nose Blow-Up (1972), the terror of confinement in Plastic Bag Tie-Up (1972) and Water Plastic Bag (1973), and the gluttony and racial stereotype in Watermelon Heaven (1972). His own body often becomes a vector in the work: his use of body paint in State of the Union (1973), the mannequin appendages and nudity in Identity (1973), and the experiment in race-bending made in conjunction with his then-wife Ann Ramos in the two-channel installation Black and White (1975). Available through April 31.
Watch here.
Part of Nor Was This All By Any Means: A Career-Spanning Series with Anthony Ramos
(Mis)Reading the Image: Selections by Darrin Martin
Electronic Arts Intermix (EAI)
eai.org
This online selection of videos by Darrin Martin stems from the artist’s research seeking disability representation in EAI’s collection—both intentional and unintentional. The titles span early conceptual video to contemporary performance, engaging themes of perceptual difference, semiotic play, and embodiment, and present an array of strategies for access. In Shape of a Right Statement, Wu Tsang re-performs text by the late disability rights activist Mel Baggs. Phyllis Baldino’s Absence is Present: MayJuneJuly and Absence is Present: Dead Nature in the Dark overlay handheld footage with a fuzzy, floating orb meant to represent a blindspot experienced by the artist following open heart surgery. Lawrence Andrews’ Birthday and Anal Denial explore the titular prompts through simultaneous on-screen text and spoken monologue. In John Baldessari’s The Meaning of Various News Photos to Ed Henderson, the artist dissects the semiotics of news media while prompting his interlocutor to verbally describe isolated newspaper clippings. Cecilia Vicuña’s Fire Over Water hauntingly addresses industrial climate disaster through a poetic rendering of the artist’s experience watching Gasland 2. Finally, Shana Moulton’s Whispering Pines 6 problematizes the incomplete promise of wellness culture to make its subjects feel whole. The videos are closed captioned. Baldessari and Moulton’s works are presented with open captions in a window-boxed format to minimize interference with the image. Baldino’s works are included with and without audio descriptions, which were written by EAI staff in collaboration with the artist. Available through April 28.
Watch here.
Nor Was This All By Any Means: A Career-Spanning Series with Anthony Ramos
Electronic Arts Intermix (EAI), DCTV, the Colloquium for Unpopular Culture, and online
264 Canal Street #3W
Electronic Arts Intermix (EAI) is thrilled to present a series of events spotlighting the extraordinary career of Anthony Ramos, among the earliest artists to use video as a tool for mass media critiques and cultural documentation, and to examine media presentations of “truth.” A significant but underrecognized figure in both East and West coast art scenes—he had been a close student of Allan Kaprow at CalArts and a peer of important video figures such as Nam June Paik and Juan Downey—Ramos produced a varied body of work, ranging from deliberately confrontational direct-camera performance to provocative essayistic compositions using appropriated material as a satirical counterpoint. Common themes for Ramos are incisive critiques of American nationalism, racial media representations, and oppressive power dynamics.
Full Disclosure: Selected Video-Performances 1972-75
Thursday, April 20 to Friday, April 28
Online showcase of early video works
Electronic Arts Intermix (EAI)
eai.org
Free
About Media (1977) and Decent Men (1977/2013)
Friday, April 21, 7:00 pm
Followed by a Q&A with Ramos and Jake Perlin
DCTV Firehouse Cinema
87 Lafayette St,
New York, NY 10013
$16 / $8 DCTV members
Tickets here
Nor Was This All by Any Means:
A Career-Spanning Conversation with Anthony Ramos
Saturday, April 22, 2:00 pm (selected works on view), 3:00 pm (conversation)
with Ramos and Catherine Quan Damman
Electronic Arts Intermix (EAI)
264 Canal Street #3W
New York, NY 10013
Free
RSVP here
Mao Meets Muddy (1989)
Tuesday, April 25, 6:30 pm
with Ramos and Bentley Brown
Co-hosted by The Colloquium for Unpopular Culture
The Feldstein Immersion Room, Bobst Library at NYU
70 Washington Square South
New York, NY 10012
Free with RSVP (non-NYU must email ss162@nyu.edu)
In 1967, Ramos served an eighteen-month prison sentence for his refusal to register for the Vietnam War draft, an act of conscientious objection with far-reaching resonance throughout the art that followed. On the occasion of Jimmy Carter’s 1977 declaration of amnesty for so-called “draft dodgers,” Ramos produced two major works drawing from his personal experience and the glib disconnect of political showboating. About Media (1977) documents, and deconstructs, Ramos's aired television interview by New York news reporter Gabe Pressman, revealing the construction of mainstream media's slick, obscuring veneer. Decent Men (1977/2013) is built around Ramos's powerful recounting of his prison stay, intercut with vintage cartoons that feature grotesque racial stereotypes alluding to America's long history of racial disenfranchisement through aggressive carceral strategies. Ramos began the work in 1977, but left it unfinished for nearly four decades, until he returned to EAI to finish the work in 2013.
Upon his release from prison, Ramos was invited by Kaprow to join CalArts’s inaugural class, where he produced a series of indelible performance tapes, including collaborations with Joe Ray and Lowell Darling. In one tape, Plastic Bag Tie-Up (1972), Ramos and Darling sealed themselves, blindfolded and bound, in clear body-sized bags; the video’s excruciating duration records their struggle to escape. One of the most unique aspects of Ramos’s career is its global scope, capturing significant instances of political struggle and social change across the world. He has traveled widely in Europe, Africa, China and the Middle East, and helped direct the video programming at the American Center in Paris, where he oversaw the television cabling of ten blocks of the city for the first time. He videotaped the end of Portugal's colonial rule of Cape Verde and Guinea-Bissau, and Tehran during the 1980 hostage crisis. He completed a number of experimental travelogs, including Nor Was This All By Any Means (1978), a densely-layered collage shot in Gorée, Cape Verde, and Tanzania, and Mao Meets Muddy (1989), documenting his travels to Beijing with painter Frederick Brown in 1988, just before Tiananmen Square.
In the late 1980s, Ramos turned to painting as his primary medium, and has since produced a staggering output of vibrantly colored compositions, drawing from techniques of dot-painting and patterning, often produced on canvases constructed by the artist himself. Most recently, in the aftermath of the high-profile killings of Black citizens by law enforcement, among them George Floyd and Breonna Taylor, Ramos’s paintings have once-again taken up his unabashed portrayal of America’s insidious racism. Ramos considers his contemporary work to be a two-dimensional extension of his videos’ cultural and political concerns.
Mao Meets Muddy
The Feldstein Immersion Room, the Elmer Holmes Bobst Library at NYU
70 Washington Square South
New York, NY 10012
Free with RSVP. (Non-NYU must email ss162@nyu.edu)
Electronic Arts Intermix (EAI) and the Colloquium for Unpopular Culture co-present this screening of Anthony Ramos’s Mao Meets Muddy (1989), considered by the artist to be his final video before shifting his emphasis to painting. In this rarely-screened video, Ramos captures a trip to Beijing made with his close friend and collaborator, painter Frederick J. Brown, who was mounting a retrospective of his work at the National Museum of China in 1988—considered to be the first solo exhibition of a Western artist in China post-Cultural Revolution. Throughout the footage, Ramos reflects on Sino-American relations, and documents cultural collisions including his and Brown’s interactions with local children and a Chinese man breakdancing in front of Brown’s portrait of Bessie Smith. Any air of jubilant possibility is undercut by the video’s setting of Tiananmen Square; in a postlude, Ramos videotapes himself tuning into the media coverage of the 1989 massacre the following year.
Ramos will be joined by artist and curator Bentley Brown, son of Frederick J. Brown, for a discussion on this video and Ramos and Frederick Brown’s long-standing collaboration. Ramos began documenting the painter’s process in the mid-’70s with Portrait of an Artist (1975), showing Brown in his 120 Wooster Street studio loft set to music by Anthony Braxton. Ramos was a part of a revolving cast of artists, poets, and musicians involved in Brown’s space, which regularly hosted gatherings and performances. Ramos continued to tape the painter’s practice even after his official retirement as a “video artist,” capturing the loft’s final performance in 1991 by Felipe Luciano, and Brown’s post-New York studio in Arizona.
Part of Nor Was This All By Any Means: A Career-Spanning Series with Anthony Ramos
Bentley Brown is a multidisciplinary artist, curator, doctoral candidate at The Institute of Fine Arts, NYU, and adjunct professor of Art History at Fordham University. Based in the Bronx, NY and Phoenix, AZ, Brown's research at the Institute of Fine Arts explores the pioneering role of Black artists and Black creative spaces within New York City’s contemporary art movements of the late 1960s through the mid-1980s. In his artistic practice, inspired by African American cultural production, abstract and figurative expressionist approaches to the artistic process and the desert landscape of his native Phoenix, Brown uses the mediums of canvas, found objects, photo-collage and film to to explore themes of Black identity, cosmology, and American interculturalism.
Nor Was This All by Any Means: A Career-Spanning Conversation with Anthony Ramos
Electronic Arts Intermix (EAI)
264 Canal Street #3W
New York, NY 10013
RSVP here. Seating is first come, first serve. RSVP does not guarantee entry, but helps us track interest and send event updates and reminders.
Electronic Arts Intermix (EAI) is pleased to host a career-spanning conversation between Ramos and scholar Catherine Quan Damman, touching upon Ramos’s varied activities as an artist. Ramos is counted among the earliest artists to use video as a tool for mass media critiques and cultural documentation, and to examine media presentations of “truth.” A significant but underrecognized figure in both East and West coast art scenes—he had been a close student of Allan Kaprow at CalArts and a friend and peer of important video figures such as Nam June Paik and Juan Downey—Ramos produced a varied body of work, ranging from deliberately confrontational direct-camera performance to provocative essayistic compositions using appropriated material as a satirical counterpoint. Selected video-performances will be on display from 2:00 to 3:00 pm, followed by a screening of Ramos’s Nor Was This All By Any Means, a densely-layered work exploring personal and cultural heritage, capturing disparate landscapes from Harlem to Goree Island, Cape Verde and Tanzania.
Part of Nor Was This All By Any Means: A Career-Spanning Series with Anthony Ramos
Catherine Quan Damman is the Linda Nochlin Visiting Assistant Professor of Art History at the Institute of Fine Arts, New York University, where she teaches and advises graduate work on feminist and queer approaches to global modern and contemporary art. She is completing her first monograph, Performance: A Deceptive History, with the support of a 2022–2023 ACLS Fellowship, and is a frequent contributor to Artforum and other publications.
About Media (1977) and Decent Men (1977/2013)
DCTV
87 Lafayette St,
New York, NY 10013
Tickets available here. $16 / $8 DCTV members
Electronic Arts Intermix (EAI) and DCTV co-present a special evening with Anthony Ramos, a significant but under recognized figure in video art history, who has produced a varied body of work ranging from confrontational direct-camera performance to provocative essayistic compositions using appropriated material as a satirical counterpoint. In these two interrelated videos, Ramos stages powerful mass media critiques to examine media representations of “truth.”
In 1967, Ramos served an eighteen-month prison sentence for his refusal to register for the Vietnam War draft, an act of conscientious objection with far-reaching resonance throughout the art that followed. On the occasion of Jimmy Carter’s 1977 declaration of amnesty for so-called “draft dodgers,” Ramos produced two major works drawing from his personal experience and the glib disconnect of political showboating. About Media (1977) documents, and deconstructs, Ramos's aired television interview by New York news reporter Gabe Pressman, revealing the construction of mainstream media's slick, obscuring veneer. Decent Men (1977/2013) is built around Ramos's powerful recounting of his prison stay, intercut with vintage cartoons that feature grotesque racial stereotypes alluding to America's long history of racial disenfranchisement through aggressive carceral strategies. Ramos began the work in 1977, but left it unfinished for nearly four decades, until he returned to EAI to finish his edit in 2013.
Part of Nor Was This All By Any Means: A Career-Spanning Series with Anthony Ramos
Founded in 1972, DCTV has grown into one of the leading documentary production and film education centers in the country. A community of and for documentary filmmakers, DCTV is a unique space where screenings, discussions, youth media, continuing education programs, and filmmaking resources exist side by side with award-winning productions. In September 2022, DCTV opened a documentary cinema where filmmakers and film lovers can come together in appreciation of nonfiction film. Housed in DCTV's beloved landmarked building in Chinatown, New York City, Firehouse: DCTV’s Cinema for Documentary Film will feature first run, curated, repertory, masterclasses, family programs and more.
Jake Perlin is a film programmer, distributor (Film Desk) and book publisher (Film Desk Books). He is the Creative Director of Cinema Conservancy, a New York based non-profit which supports production and preservation, and serves as Archivist and Curator for the St. Clair Bourne/Bourne Family collection.
Jean Dupuy and DeeDee Halleck's Self Portrait
Emily Harvey Foundation
537 Broadway #2
New York, NY 10012
Electronic Arts Intermix (EAI) and the Emily Harvey Foundation are pleased to present a weekend-long engagement celebrating the life and work of Jean Dupuy (1925-2021), a trailblazing figure in art and technology and a fundamental node connecting the fields of conceptual, performance, and video art in 1970s downtown New York.
Friday, April 7th
7 pm
Screening of DeeDee Halleck and Jean Dupuy's Self Portait, followed by conversation with Halleck, Barbara Moore, and Carlota Schoolman
RSVP here.
Saturday, April 8th to Sunday, April 9th
1 pm to 6 pm
Selected works by Dupuy on view
On the evening of Friday, April 7th, DeeDee Halleck will present a recent transfer of her and Dupuy’s Self Portrait (1974), which captures the duo making art and cooking tarts at his loft and studio at 405 East 13th Street. Following the screening, Halleck, Barbara Moore, and Carlota Schoolman will reflect on the artist’s activities and impact. On Saturday and Sunday, April 8 to 9 from 1 pm to 6 pm, a selection of Dupuy’s drawings, collages, and sculptural interventions either featured in the film or made around the same time as Self Portrait will be on display.
Originally trained as a painter in Paris, Dupuy disavowed his earliest medium by throwing his artworks into the Seine, and soon immersed himself in the city’s growing performance and sound poetry scenes, eventually relocating to New York in 1967. Within a year, the artist generated significant attention for his sculpture Cone Pyramid (Heart Beats Dust), a glass box outfitted with a stethoscope that vibrated a cloud of red particles to the rhythm of a viewer’s heartbeat. The piece won a competition held by Experiments in Art and Technology (EAT) directed by Robert Rauschenberg and Billy Klüver, and was soon featured in the landmark exhibition The Machine as Seen at the End of the Mechanical Age organized by Pontus Hultén at the Museum of Modern Art. Dupuy joined the Sonnabend Gallery, with whom he exhibited widely until his departure from the gallery in 1973.
From 1973 to 1979, Dupuy was a prolific organizer of group shows and collective happenings, engaging many of the key performers, musicians, and conceptual artists of the era with events organized at his loft, the Whitney Museum, the Kitchen and the Judson Church. Among these are the storied Soup and Tart (1974), a multimedia dinner party pairing home-cooked soup, bread, apple tarts and wine with two-minute performances by Yvonne Rainer, Charles Atlas, Philip Glass, Gordon Matta-Clark, Joan Jonas, Hannah Wilke, and many others; his video performances Chant A Capella (1977, with Davidson Gigliotti) and Artists Propaganda (1978, with Kit Fitzgerald and John Sanborn); and hosting a wedding and Fluxus cabaret celebrating the marriage of George Maciunas and Billie Hutching (1978). From 1976 to 1979, Dupuy presented many performance concerts at his Grommet Studio, ran in one of Maciunas’s artist co-ops in the loft that is now known as the Emily Harvey Foundation.
In the early ‘80s, Dupuy relocated to Pierrefeu, a commune in southeastern France. He again shifted his focus to anagram and wordplay-based art, publishing over twenty books on the subject and exhibiting across Europe and the United States until his death in April 2021.
DeeDee Halleck is a media activist, founder of Paper Tiger Television and co-founder of the Deep Dish Satellite Network, the first grass roots community television network. She founded the television version of Democracy Now!, the first truly alternative daily newscast. She is Professor Emerita in the Department of Communication at the University of California at San Diego. Her first film, Children Make Movies (1961), was about a film-making project at the Lillian Wald Settlement in Lower Manhattan. Her documentary, Mural on Our Street was nominated for an Academy Award in 1965. She founded film workshops at Otisville School for Boys in 1968, a NY State Division for Youth Facility. She has served as a trustee of the American Film Institute, Women Make Movies and the Instructional Telecommunications Foundation. Her book, Hand Held Visions is published by Fordham University Press. She co-edited Public Broadcasting and the Public Interest (M.E. Sharpe) and has written essays for a number of collections of independent media. Halleck has collaborated with many artists: she was cinematographer and editor for Richard Serra’s Railroad Turnbridge, edited Nancy Holt’s Pine Barrens and Sun Tunnels, and was a principal member of Shirley Clarke’s Tee Pee Video Space Troupe for two years. She has worked with others including Joan Jonas, Jean Dupuy, David Tudor, Liza Béar, David Behrman, Roberta Neiman, the Videofreex, Mary Frank, Reverend Billy, Morag Benepe, Ed Sanders, Tuli Kupferberg, and more.
Barbara Moore is an independent scholar of late 20th-century avant-garde art such as artists’ books and performance. She was the first editor at Dick Higgins’s legendary Something Else Press, became a rare book dealer specializing in printed manifestations of alternative mediums, and has written and lectured extensively on these subjects. Throughout the 1960s, ‘70s and ’80s she simultaneously worked alongside photographer Peter Moore (1932-1993), in creating an archive containing several hundred thousand of his images plus related documents chronicling the development of what came to be known as Performance Art, including Fluxus, Happenings, Judson Dance Theater, multimedia, and intermedia. She is currently writing a memoir and visual history of performance in the 1960s and ‘70s as experienced in the Moores’ joint discovery of these seminal events.
Carlota Schoolman became interested in producing video made by artists in 1970. She began inviting artists to make videotapes and created Fifi Corday Productions to produce their work and screen it on the newly established public-access cable stations in NYC. She also worked with Experiments in Art and Technology, organizing their public-access cable broadcast of artist video and films. After producing and exhibiting work by Trisha Brown, Joan Jonas, Richard Landry, Richard Serra and many others, she joined the staff of The Kitchen. As Video Curator and TV Producer (1974-86), she produced exhibitions, screenings and performances. Works for television included Revolve by Nancy Holt (1977), broadcast on WNET Channel 13; Perfect Lives, an opera for television by Robert Ashley (1983), premiered on Great Britain’s Channel Four; and Two Moon July (1986) by Tom Bowes, broadcast on WNET Channel 13. Along with Mary Griffin she founded Providence Productions International, commissioning, producing and presenting exhibitions and several operas with musicians and artists including Griffin, Leroy Jenkins, “Blue” Gene Tyranny, Joe Hannan and others. In 2009, Schoolman had a traumatic brain injury which resulted in aphasia, a communication disorder. After 6 years of speech therapy with the International Aphasia Movement (IAM) she became the President of that organization. IAM offers free speech and language therapy in small group settings to anyone with aphasia, both on Zoom and in-person. For more information, e-mail carlota@iamaphasia.org or visit https://iamaphasia.org.
(Mis)Reading the Image: Selections by Darrin Martin
Electronic Arts Intermix (EAI)
264 Canal Street #3W
New York, NY 10013
RSVP here. Seating is first come, first serve. RSVP does not guarantee entry, but helps us track interest and send event updates and reminders.
Image: Still from Shana Moulton, Whispering Pines 6, 2006. An incomplete jigsaw puzzle is presented on a green table marbled with black veins. A hand pressing pieces in place is pictured coming in from the side. Enough of the puzzle is complete to reveal a waterfall descending from a cliff that ends in a rainbow and mist into the forest below.
Electronic Arts Intermix (EAI) is pleased to present a screening and discussion lead by artist and educator Darrin Martin, whose video, performance, and print-based installations have considered the synesthetic qualities of perception, and notions of accessibility through the use of tactility, sonic analogies, and audio descriptions.
Beginning in 2010, Martin started to explore EAI’s collection with two goals in mind: to search for disability representation, and in pursuit of experimental video work that considers disability access at its inception—even if it might not have been the impetus for its making. As an extension of this project, Martin has assembled a program of works by six artists whose practices span from early conceptual video to contemporary performance, each uniquely engaging the themes of perceptual difference, semiotic play, and embodiment. This event will feature open captioning and live ASL interpretation. A free, closed-captioned online streaming version of this event will be available in mid-April.
Martin writes: “The works in (Mis)Reading the Image are never what they appear to be at face value and/or have found new perspectives within and against each other in time. Their relationship to language, text, and image is built upon shifts in context whether through the performative work of Wu Tsang embodying the words of a late autism rights activist Mel Baggs, an attempt to audio describe images removed from newspaper clippings in John Baldessari’s The Meaning of Various News Photos to Ed Henderson, or in the stuttering poetic plea of Cecilia Vicuña’s emotional summary of a film that rings the alarm over specific man-made environmental catastrophes. Woven throughout the program are selections from Phyllis Baldino’s Absence is Present which manifests her experience with a blind spot and two works from Lawrence Andrews’ Selections from the Library, which take the approach of building an image within the viewer using text and sound that resists simple approaches to reification. Finally, Shana Moulton’s Whispering Pines 6 places the viewer as witness to the trajectory of her alter ego Cynthia’s attempt to find wholeness in a world of image fragmentation and missing pieces.
Darrin Martin creates videos and installations that engage qualities of perception mediated through the lens of both obsolete and new technologies. His latest projects consider ways in which meaning is layered and performative using sonic analogies and audio descriptions. Through collaborations with artist Torsten Zenas Burns, they build speculative fictions around re-imagined educational practices and dystopian cosplay paradigms. Martin is a Professor in the Art and Art History Department at University California, Davis.
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.
Maintaining Clarity: Recent Works in Distribution (Online)
Electronic Arts Intermix (EAI)
eai.org
From March 15th through March 30th, explore Maintaining Clarity, an online version of an event showcasing recent works in distribution held at EAI on February 28th, featuring six titles and a conversation between Cecelia Condit, LoVid, Shelly Silver, and C. Spencer Yeh.
Watch here.
In this collection of short works, which takes its name from Ulysses Jenkins's Sobriety, artists contend with technology’s travails and possibilities, exploring how digital devices interact with the corporeal world. Cecelia Condit’s AI and I considers the artist’s relationship to Amazon’s Alexa. Jayson Musson’s Blockedt! pitches a functionless “anti-social social networking” app, co-developed with Buzzfeed founder Jonah Peretti for Rhizome’s Seven on Seven. Shelly Silver’s Score for Joanna Kotze, described by the artist as a “dance film that primarily leaves us in the dark,” flickers through photographs of flowers, buildings, and debris, and C. Spencer Yeh’s Three Waves collages close-up video and recordings from the artist’s mouth. LoVid’s Three Moons compiles footage of weeds, wild flora, and friends in and around Long Island taken with a custom-built temporospatial camera, and Wu Tsang’s iPhone-shot Girl Talk captures poet and scholar Fred Moten letting loose to Josiah Wise’s cover of the eponymous 1965 jazz standard.
Maintaining Clarity: Recent Works in Distribution
Electronic Arts Intermix (EAI)
264 Canal Street #3W
New York, NY 10013
RSVP here. Seating is first come, first serve. RSVP does not guarantee entry, but helps us track interest and send event updates and reminders.
Electronic Arts Intermix (EAI) is pleased to present an eclectic selection of videos ranging from frenetic experiments to raw cell phone footage, musical numbers to satirical riffs on sleek consumer electronics, culled from works recently added to our distribution catalogue. The evening takes its title from Ulysses Jenkins’s Sobriety (2022), a new video and song by his conceptual art band Othervisions about keeping one’s head above water amid tumult.
In this collection of short works, artists contend with technology’s travails and possibilities, exploring how digital devices interact with the corporeal world. Cecelia Condit’s AI and I considers the artist’s relationship to Amazon’s Alexa. Jayson Musson’s Blockedt! pitches a functionless “anti-social social networking” app, co-developed with Buzzfeed founder Jonah Peretti for Rhizome’s Seven on Seven. Shelly Silver’s Score for Joanna Kotze, described by the artist as a “dance film that primarily leaves us in the dark,” flickers through photographs of flowers, buildings, and debris, and C. Spencer Yeh’s Three Waves collages close-up video and recordings from the artist’s mouth. LoVid’s Three Moons compiles footage of weeds, wild flora, and friends in and around Long Island taken with a custom-built temporospatial camera, and Wu Tsang’s iPhone-shot Girl Talk captures poet and scholar Fred Moten letting loose to Josiah Wise’s cover of the eponymous 1965 jazz standard.
Following the program, there will be an informal chat with Cecelia Condit, LoVid, Shelly Silver, and C. Spencer Yeh. An online, closed-captioned version of this program will be accessible for a limited time in March.
Please note that works in this program contain flashing lights and intense visual patterns.
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.
Frank Heath: Three Works
Electronic Arts Intermix (EAI)
eai.org
On December 6th, 2022, Electronic Arts Intermix (EAI) presented an evening with Frank Heath, whose videos works explore the inner workings of underground infrastructures, communication networks, and other complex systems. This online, closed-captioned version of the event spotlights three works by Heath that examine topics including public payphones, supply-chain logistics, nuclear waste repositories, and home safety. It also features the post-screening conversation moderated by EAI's Tyler Maxin. This program will run from December 15th, 2022 to January 4th, 2023.
Works included:
Frank Heath, The Hollow Coin, 2016
Frank Heath, Last Will and Testament, 2021
Frank Heath, Protect Your Home (Interpret It Well), 2022, featuring music by Ches Smith
Frank Heath: Artist Talk and Screening
Electronic Arts Intermix (EAI)
264 Canal Street #3W
New York, NY 10013
Electronic Arts Intermix (EAI) is pleased to present an evening with Frank Heath, whose moving-image works explore the inner workings of underground infrastructures, communication networks, bureaucratic procedures, and other complex systems. Often, Heath reaches absurd conclusions, wryly revealing the disperse and bureaucratic nature of power structures and their susceptibility to human folly and historical contingency. EAI will screen three pieces, including the recently-completed archival montage Protect Your Home (Interpret It Well), a music video about home security accompanying a composition by percussionist Ches Smith.
Heath will appear in conversation following the screening. This event celebrates EAI’s distribution of the artist’s work, added to the catalogue in 2021.
RSVP here. Seating is first come, first serve. RSVP does not guarantee entry, but helps us track interest and send event updates and reminders.
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.
Masks are strongly encouraged. If you are experiencing a fever, cough, shortness of breath, loss of taste or smell, or other symptoms that could be related to COVID-19, we ask that you please stay home.
Maggie Lee: Fall Rainbowz
Electronic Arts Intermix (EAI)
264 Canal Street #3W
New York, NY 10013
Electronic Arts Intermix (EAI) is pleased to present Maggie Lee: Fall Rainbowz, a special evening with the artist. Reflecting Lee’s unique collage-based approach and eclectic range of influences, this free event will take a hybrid form, flowing between a screening, performance, exhibition, and open-ended social gathering, transforming the space into a temporary extension of the artist’s studio. Lee will arrange and draw from a diverse array of found material and media, from Roger Vadim’s garish space opera Barbarella (1968) and Mauricio Kagel’s evasive musical compositions, to multicolored lightbulbs and freshly-fallen autumn leaves.
In the time-honored lineage of DIY distribution and punk show merch tables, an assortment of books, records, clothing, accessories, and other ephemera will be available for sale from Lee, Electronic Arts Intermix, Ailanthus Books, Fusetronsound, and Mittens Shop.
RSVP here.
Please note that we expect this event to reach capacity.
We will open the doors at 6:30 pm, and the performance will take place at 7:30 pm sharp. There will be a limited number of seats, plus standing room. We will pause new arrivals and re-entries for the duration of the performance. In the event we reach capacity, an RSVP does not guarantee entry.
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.
Masks are strongly encouraged. If you are experiencing a fever, cough, shortness of breath, loss of taste or smell, or other symptoms that could be related to COVID-19, we ask that you please stay home.
Broadcasting: Book Launch and Screening
Electronic Arts Intermix (EAI)
264 Canal Street #3W
New York, NY 10013
Electronic Arts Intermix (EAI) is pleased to present an evening of video and television works celebrating the publication launch of Broadcasting: EAI at ICA. This free screening features selections from the 2018 exhibition of the same name, and reflects on artist responses to themes of media saturation, commercialization, duration, and public engagement. Copies of the catalog will be for sale.
Free to attend. RSVP here.
Following the mass adoption of cable TV and home video recording technology in the early ‘80s, many artists had access to a new arsenal of strategies for intervening directly with televised media. Public broadcast carved out a space for experimentation, a sensibility showcased in such series as Jaime Davidovich’s The Live! Show (1979-84) and Robert Beck’s The Space Program (1985-86), both aired on the Manhattan Cable Network. The advent of specialized networks also presented new opportunities to mingle artists’ media with “normal” televised content: MTV, with their hip youth audience in mind, invited a number of artists to create culture-jamming interstitials in between music videos including video art pioneer Dara Birnbaum, and initiatives such as TRANS-VOICES commissioned artists including Birnbaum, Bruce and Norman Yonemoto, Philip Mallory Jones, and Tom Kalin to produce 60-second spots for American and French broadcast. As the choices on the TV remote became more vast, so too did an overwhelming sense of content glut and advertising onslaught. New consumer video formats like VHS and Betamax gave a new generation of artists the license to remix and deconstruct these images, a practice exemplified by works such as Cable Xcess (1996), a faux-infomercial by Kristin Lucas that warns of the long-term consequences of exposure to electromagnetic fields, and No Sell Out... or i wnt 2 b th ultimate commodity/ machine (Malcolm X Pt. 2) (1995), a stunning MTV-style indictment of consumerism and racial capitalism by “art-band” X-PRZ.
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.
Masks are strongly encouraged. If you are experiencing a fever, cough, shortness of breath, loss of taste or smell, or other symptoms that could be related to COVID-19, we ask that you please stay home.
Around Space: Works by Theresa Hak Kyung Cha, Sujin Lee, and Jesse Chun
Spectacle Theater
124 S 3rd St
Brooklyn, NY 11249
Electronic Arts Intermix (EAI) and Wendy's Subway are pleased to co-present a screening of Theresa Hak Kyung Cha's video works at Spectacle Theater, featured alongside works by artists Sujin Lee and Jesse Chun. Grappling with the porosity of language, historicity, geopolitics and more, Cha, Chun, and Lee’s works explore these issues with dexterity and playfulness. Between the subtle and obvious gestures towards Cha in both Chun and Lee’s works, the screening will be an exciting opportunity for audiences to view Cha’s work in community, and in conjunction with artists working in and along her lineage.
This event is part of Wendy's Subway's series The Quick and the Dead, a yearlong, multi-phase project that bridges the life, work, and legacy of a deceased writer to those of contemporary practitioners. In its third year, the program focuses on Korean American artist Cha (1951–1982), and considers her profound interventions in film and video, historiography, language and translation, and autobiographical writing. Cha’s exploration of the porousness between artistic mediums leaves indelible marks on contemporary art, especially film and video.
Purchase tickets here.
Radical Accessibility: Making Media Art Collections Truly Accessible
NYU Center for Disability Studies
RSVP here.
A transcript of this event is available by request. To access, please email cstrange@eai.org.
Electronic Arts Intermix (EAI) and NYU Center for Disability Studies are thrilled to co-present a roundtable discussion on relevant histories, practices, and standards for audiovisual accessibility in moving image art distribution. The panel will include distributor Ben Cook of LUX (London, UK), writer Louise Hickman, artist Darrin Martin, and Mara Mills (NYU CDS).
This program takes its cue from Emily Watlington’s research and accompanying lecture, “The Radical Accessibility of Video Art (For Hearing People),” presented by LUX in 2020. Participants will address how use of the term “access” to describe the circulation of moving image art, especially by distributors, has not fully considered accessibility—in particular for audiences with disabilities. The conversation will look forward, building speculative and material strategies for a sustainable practice of accessibility in moving image distribution through active captioning, subtitling, and engagement with disabled artists, among other approaches. The event coincides with the upcoming release of Crip Authorship: Disability as Method (NYU Press), edited by Mara Mills (NYU CDS) and Rebecca Sanchez.
Benjamin Cook is the founder director of LUX and LUX Scotland, the UK agencies for the support and promotion of artists’ working with the moving image, and represents Europe’s largest collection of film and video works by visual artists. He has been professionally involved in the visual arts and independent film sector in the UK for the past 25 years as a curator, archivist, producer, writer and teacher.
Louise Hickman is a research associate at the Minderoo Centre of Technology and Democracy, University of Cambridge. Previously, she was at the London School of Economics and the Ada Lovelace Institute’s JUST-AI Network on Data and AI Ethics. Her research draws on critical disability studies, feminist labor studies, and science and technology studies to examine the historical conditions of access work. She holds a PhD in Communication from the University of California, San Diego, and is currently working on a book manuscript tentatively titled “Crip AI: The Automation of Access.”
Darrin Martin creates videos and installations that engage qualities of perception mediated through the lens of both obsolete and new technologies. His latest projects consider ways in which meaning is layered and performative using sonic analogies and audio descriptions. Through collaborations with artist Torsten Zenas Burns, they build speculative fictions around re-imagined educational practices and dystopian cosplay paradigms. Martin is a Professor in the Art and Art History Department at University California, Davis.
Mara Mills is Associate Professor of Media, Culture, and Communication at New York University. She is a co-founder and editorial board member for the journal Catalyst: Feminism, Theory, Technoscience. Most recently, she is the co-editor of Testing Hearing: The Making of Modern Aurality (Oxford, 2020) and Crip Authorship: Disability as Method (NYU Press, 2023). With Jonathan Sterne, she is writing a book on the history of time-stretching. She is co-founder and co-director of the NYU Center for Disability Studies, where she is currently co-directing the NSF-funded project How to be Disabled in a Pandemic.
The NYU Center for Disability Studies (CDS) promotes disability scholarship, artistry, and activism through: public events, a monthly seminar, an undergraduate Disability Studies Minor and Disability Student Union, and collaborations with other arts and academic centers nationally and internationally. The Center is currently co-directed by Faye Ginsburg (Anthropology/Faculty of Arts & Sciences) and Mara Mills (Media, Culture, and Communication/Steinhardt).
EAI at Frieze
Frieze New York at The Shed
545 W 30th St
New York, NY 10011
On the occasion of the organization's 50th anniversary, Frieze has invited Electronic Arts Intermix (EAI) to program a series of videos from its collection of over 4,000 titles. This selection offers a dynamic overview of the strategies and concerns of an intergenerational array of artists whose work experiments with communications technology, ranging from television to social media. Videos from the EAI collection will appear throughout the fair, on large-scale monitors at its entrance and in lobbies on two floors. EAI's participation is part of a program spotlighting New York non-profits organizations that have celebrated significant anniversaries in the past year, alongside peers Artists Space, A.I.R., and Printed Matter Inc. Works featured include:
Program #1 (4th floor, CRT monitor):
Anthony Ramos, Balloon Nose Blow-Up, 1972, 11:18 min
Kristin Lucas, Cable Xcess, 1996, 4:48 min
Jaime Davidovich, The Live! Show Promo, 1982, 5:32 min
Joan Jonas, Duet, 1972, 4:23 min
Ulysses Jenkins, Inconsequential Doggereal, 1981, 15:13 min
Robert Beck, The Feeling of Power, 1990, 9 min
Cecelia Condit, Possibly in Michigan, 1983, 11:40 min
Ellen Cantor, Evokation of My Demon Sister, 2002, 4:38 min
Program #2 (6th floor, HD monitor):
Ulysses Jenkins, Notions of Freedom, 2007, 15:47 min
Trevor Shimizu, Lonely Loser Trilogy (Skate Videos), 2013, 14 min
Shana Moulton, Restless Leg Saga, 2012, 7:14 min
Peggy Ahwesh, The Falling Sky, 2017, 9:30 min
Tony Cokes, B4 and After the Studio, Part 1, 2019, 11:02 min
Maggie Lee, WINGS1 + WINGS2, 2013, 1:59 min
Maggie Lee, Department Store, 2021, 7:50 min
Mezzanine monitors:
Peggy Ahwesh, The Falling Sky, 2017, 9:30 min
Trevor Shimizu, Lonely Loser Trilogy (Skate Videos), 2013, 14 min
Book signing: Trevor Shimizu at Printed Matter, Frieze New York
Printed Matter at Frieze
545 W 30th St,
New York, NY 10001
In celebration of the launch of Broadcasting: EAI at ICA, advance copies of the book are now for sale at Printed Matter, Frieze New York at The Shed. Artist Trevor Shimizu will appear in person to sign copies. Pre-orders for the book are also available here.
Broadcasting: EAI at ICA marks the 50th anniversary of Electronic Arts Intermix (EAI), one of the first nonprofit organizations dedicated to the advocacy for and development of video as an art form, providing a crucial space of production and mode of distribution. The book pays tribute to EAI as a site of exchange between an inter-generational group of artists whose time-based artworks are produced in concert with their means of circulation, from the democratic platform of public access television to the instantaneity of social media. The book features an oral history with Lori Zippay, EAI’s Director Emerita, that charts the growth of EAI against the backdrop of a changing New York art world, alongside critical essays by the curators and contributions by artists Antoine Catala, Tony Cokes, Ulysses Jenkins, and Sondra Perry.
Featuring works in the ICA exhibition by Beth B, Robert Beck/Buck, Dara Birnbaum, DCTV, DIVA TV, Tony Cokes, Ulysses Jenkins, JODI, Philip Mallory Jones, Tom Kalin, Shigeko Kubota, Kristin Lucas, Victor Masayesva, Jr., Shana Moulton, Nam June Paik and Paul Garrin, Radical Software Group (RSG), Martha Rosler and Paper Tiger Television, Trevor Shimizu, Squat Theatre, TVTV, Video Venice News, X-PRZ, and Bruce and Norman Yonemoto.
Edited by Rebecca Cleman and Alex Klein. Co-published with the Institute of Contemporary Art, University of Pennsylvania. Designed by Geoff Han and Anna Feng.
Book signing: Trevor Shimizu at Printed Matter, Frieze New York
Printed Matter at Frieze
545 W 30th St,
New York, NY 10001
In celebration of the launch of Broadcasting: EAI at ICA, advance copies of the book are now for sale at Printed Matter, Frieze New York at The Shed. Artist Trevor Shimizu will appear in person to sign copies. Pre-orders for the book are also available here.
Broadcasting: EAI at ICA marks the 50th anniversary of Electronic Arts Intermix (EAI), one of the first nonprofit organizations dedicated to the advocacy for and development of video as an art form, providing a crucial space of production and mode of distribution. The book pays tribute to EAI as a site of exchange between an inter-generational group of artists whose time-based artworks are produced in concert with their means of circulation, from the democratic platform of public access television to the instantaneity of social media. The book features an oral history with Lori Zippay, EAI’s Director Emerita, that charts the growth of EAI against the backdrop of a changing New York art world, alongside critical essays by the curators and contributions by artists Antoine Catala, Tony Cokes, Ulysses Jenkins, and Sondra Perry.
Featuring works in the ICA exhibition by Beth B, Robert Beck/Buck, Dara Birnbaum, DCTV, DIVA TV, Tony Cokes, Ulysses Jenkins, JODI, Philip Mallory Jones, Tom Kalin, Shigeko Kubota, Kristin Lucas, Victor Masayesva, Jr., Shana Moulton, Nam June Paik and Paul Garrin, Radical Software Group (RSG), Martha Rosler and Paper Tiger Television, Trevor Shimizu, Squat Theatre, TVTV, Video Venice News, X-PRZ, and Bruce and Norman Yonemoto.
Edited by Rebecca Cleman and Alex Klein. Co-published with the Institute of Contemporary Art, University of Pennsylvania. Designed by Geoff Han and Anna Feng.
Intermixing: EAI and The Kitchen In Conversation with Alex Klein
The Kitchen
512 West 19th Street
New York, NY 10011
Electronic Arts Intermix (EAI) and The Kitchen recently celebrated their 50th anniversaries. Rebecca Cleman, EAI’s Director, and Alison Burstein, Curator at The Kitchen, reflect on their shared organizational histories rooted in an alternative arts ecology and how it informs their institutional roles in the present. The conversation is moderated by Alex Klein, Dorothy and Stephen R. Weber (CHE’60) Curator at the Institute of Contemporary Art in Philadelphia.
The event also celebrates the release of the publication Broadcasting: EAI at ICA, now available for pre-order. Copies of the book will be available for purchase.
First World Order
Electronic Arts Intermix (EAI) and Triple Canopy
264 Canal Street #3W
New York, NY 10013
Electronic Arts Intermix (EAI) and Triple Canopy are pleased to co-present First World Order, a screening of works by Ilana Harris-Babou and Ulysses Jenkins followed by a discussion between Harris-Babou and writer Yasmina Price. The event will be in-person at 264 Canal Street, as well as livestreamed online and viewable after the fact. It will be accompanied by an online program of works by Harris-Babou, Jenkins, Philip Mallory Jones (whose video First World Order inspired this project's title), and Anthony Ramos, available at EAI's website.
The herbalist Alfredo Bowman, popularly known as Dr. Sebi, often asked, “What were we eating before we were taken from Africa, before there was an invasion by the man from Europe?” Dr. Sebi’s answer came in the form of a diet that eschewed “Caucasian food” and emphasized fruits, vegetables, and pulses, which he promoted as complementing “the African gene structure.” Drawing on Black nationalist movements as well as Hippocrates and the Old Testament, the quietly charismatic (and unlicensed) practitioner traced all diseases afflicting Black people to their displacement from Africa through the transatlantic slave trade. Before dying in 2016, he had attracted a global following that included Lisa “Left Eye” Lopes, Michael Jackson, and Nipsey Hussle, as well as numerous charges of fraud for claiming that his treatments cured illnesses as various as herpes, HIV, and diabetes. In her video Leaf of Life (2022), the artist Ilana Harris-Babou considers Dr. Sebi’s amalgamation of tradition, myth, and persona—which enabled him to advance an identity rooted in the bodies of Black people around the world—and asks how distrust of American institutions contributes to the appeal of his message.
Harris-Babou's work will be presented alongside two selections from Ulysses Jenkins's The Video Griots Trilogy, a series of video meditations on history and culture. In Self-Divination, the artist speaks poetically about the origins and realities of the African diaspora, and Mutual Native Duplex is a video essay on the mutual alliances between Native and African Americans which celebrates the "neo-American model" of inter-cultural cooperation that grew out of these encounters.
Following the screening, Harris-Babou will be joined by Yasmina Price to discuss the political concerns and representational strategies expressed in the works. They’ll ask how, today, artists are envisioning forms of belonging that defy the logic of time and space, and that turn to tradition without succumbing to nostalgia—or eliding the particular conditions and historical experiences that define diasporic populations.
RSVP here to attend the event (or watch the livestream).
All attendees are required to present proof of full vaccination against COVID-19 and to wear masks unless otherwise indicated. Seating is on a first-come, first-served basis (even for those who have RSVP’d). The doors will open thirty minutes prior to the event and attendance will be limited, given safety concerns and the capacity of our venue.
Triple Canopy’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 rachel@canopycanopycanopy.com in advance of the event.
Computer Art Festivals Panel #2: Digital Art and Institutional Models
Creative GC: Art Science Connect
RSVP here.
Electronic Arts Intermix (EAI) and the CUNY Graduate Center’s Art and Science Connect are pleased to co-present a pair of panels inspired by the legacy of the Computer Art Festivals (1973-1975), alongside an online presentation of video works, programs, and materials from the event’s three year history. In the first panel, organizers and artists from the initial festivals will discuss the original impetus for the project, the nature of computer art at the time, and the event’s resonances today. In the second, contemporary digital art practitioners and institutional voices will consider the role of institutions in producing and shaping art made with computers.
At the time of the Computer Art Festivals in the 1970s, art made with computers was largely the domain of institutions. From university and private research laboratories to alternative arts organizations and galleries, institutions were necessary to steward expensive equipment, facilitate information exchange, and build context for emerging forms. In the intervening decades, computer art (now referred to as digital art) has transformed considerably alongside the rapid development of technology and digital culture, and drastic shifts in public and private funding structures. With the advent of personal computing and ostensibly decentralized distribution, the role of such institutions in producing and shaping the context of art made with computers has been questioned and reconfigured. This conversation will engage contemporary artists and institutional voices to consider the role of institutions in digital art today. Has technology made such institutions redundant, or more critical than ever? What roles might institutions play in supporting emerging digital practices, now and in the future?
This panel will include Rebecca Cleman, Auriea Harvey, Kelani Nichole, Lumi Tan, and Addie Wagenknecht, moderated by curator Tina Rivers Ryan. RSVP here. Image: installation shot of Addie Wagenknecht, XXXX.XXX, 2014, photograph by John Berens.
Learn more about Panel #1: A Conversation with Original Participants here.
The Work of Bruce & Norman Yonemoto
Anthology Film Archives
32 2nd Ave, New York, NY 10003
Electronic Arts Intermix (EAI) is pleased to partner with Anthology Film Archives to host artist Bruce Yonemoto for a retrospective of the video work he and his brother Norman Yonemoto have created, both together and separately, since the mid-1970s. Working largely collaboratively until Norman’s death in 2014, the Yonemotos hold a unique place in the history of avant-garde cinema and video art. Their work can be viewed through many different prisms: proudly Queer and committed to conveying the perspective and history of Asian-American (specifically, Japanese-American) culture, their films, videos, and installations also reflect a distinctively West Coast mentality, steeped in the radiance (and the shadows) of Hollywood’s glamorous myths, illusions, and ideologies.
Raised in Santa Clara, California, in the immediate postwar years, with their mother’s experience in the Japanese-American concentration camps informing their upbringing, the brothers both embraced careers in visual culture early on: Norman attended film school at UCLA and the American Film Institute, while Bruce studied art at UC Berkeley, the Sokei Bijitsu Gakkō in Tokyo, and the Otis Art Institute in Los Angeles. Despite these initially separate paths – and after Norman cut his filmmaking teeth making both agit-prop shorts and the adult film Brothers – they almost immediately embarked on a collaborative career, beginning with the X-rated feature Garage Sale (1976). Soon after, they began a trilogy of video works known as the “Soap Opera Series” – a title that reflected their ongoing preoccupation with the conventions of television soap opera in particular and the codes and forms of mass media in general.
The Yonemotos’ extraordinary video works of the 1980s and 90s are irreverent, ironic, gleefully stylized, and yet closely attuned to the ways in which the grammar and iconography of television and industrial cinema shape modern life. Collaborating with a gloriously eclectic array of artists and performers including Mike Kelley, Tony Oursler, Spalding Gray, Jeffrey Vallance, Patricia Arquette, Ron Vawter, Mary Woronov, and Michael Smith, their body of work represents a fascinating nexus of figures, themes, and ideas.
Following Norman’s death in 2014, Bruce continued making single-channel video pieces, in addition to his photographs, installations, and sculptural works. This comprehensive retrospective will encompass almost all of the Yonemotos’ collaborative works, as well as Norman’s Second Campaign and Brothers, and a selection of the solo works Bruce has created since the turn of the millennium.
Bruce Yonemoto will appear in person for the majority of the screenings, with other special guests to be announced.
For a full list of showtimes, please see the Anthology Film Archives website.
Computer Art Festivals Panel #1: A Conversation with Original Participants
Creative GC: Art Science Connect
RSVP here.
Electronic Arts Intermix (EAI) and the CUNY Graduate Center’s Art and Science Connect are pleased to co-present a pair of panels inspired by the legacy of the Computer Art Festivals (1973-1975), alongside an online presentation of video works, programs, and materials from the event’s three year history. In the first panel, organizers and artists from the initial festivals will discuss the original impetus for the project, the nature of computer art at the time, and the event’s resonances today. In the second, contemporary digital art practitioners and institutional voices will consider the role of institutions in producing and shaping art made with computers.
First organized by Dimitri Devyatkin in 1973, the Computer Art Festivals were an instrumental forum for the convergence of art and computing technology at a formative moment in the histories of computer art. Within the short span of their three years -- taking place at The Kitchen in 1973 and '74 before relocating to the CUNY Graduate Center in 1975 -- the festivals brought together over 100 different artists, showcasing prescient experiments with computers from a wide array of disciplines, including music, film, video, and graphic sculpture. In this conversation with the festival’s early organizers and participants, EAI and the CUNY Graduate Center will consider computer art’s early history and its entanglement with the multidisciplinary spirit of intermedia art, as well as the role of institutions including public funding structures, arts organizations, and universities in cultivating a rich context and support network for emerging media art.
This panel assembles original participants including Dimitri Devyatkin, Charles Dodge, Louise Etra, and Alison Knowles with Joshua Selman, moderated by curator Michelle Kuo. RSVP for the panel here.
Learn more about Panel #2: Digital Art and Institutional Models here.
EAI at 50 at Metrograph: Bernadette Corporation
Metrograph
7 Ludlow Street
Electronic Arts Intermix (EAI) is pleased to partner with Metrograph to present a series of programs highlighting our catalogue and its essential role in the history of artists’ moving image work. This program coincides with our ongoing celebration of EAI's 50th anniversary.
Formed in 1994, Bernadette Corporation is a multi-hyphenate, international, and anonymous art collective whose feverish output resists pat categorization. The group has spanned a wide range of cultural production including nightlife promotion, fashion, the magazine Made In USA, the collectively-authored novel Reena Spaulings (Semiotext(e), 2005), gallery art, and the medium of publicity itself. This evening pairs two key video works, which embody their spirit of détournement and defiant self-effacement: Hell Frozen Over (2000), described by the group as "a fashion film about the poetry of Stéphane Mallarmé and the color white,” and Get Rid of Yourself (2002), an “anti-documentary” fusing footage of the G8 summit protests in Genoa, Italy with appearances by actress Chloë Sevigny and artist-philosopher Werner von Delmont.
Introduced by Lizzi Bougatsos.
Buy tickets here.
