Search Results
Search Results
Title Results
Your search returned 794 Titles
Steeped in irony, Made in Hollywood depicts the personal and cultural mediation of reality and fantasy, desire and identity, by the myths of television and cinema. Quoting from a catalogue of popular styles and sources, from TV commercials to The Wizard of Oz, the Yonemotos construct a parable of...
MAJORCA - fantasia
Nam June Paik in collaboration with Paul Garrin and Amy Greenfield
1989, 4:52 min, color, sound
MAJORCA-fantasia is a densely textured collage of often discordant, often beautiful visual and aural elements. To an exquisite musical composition by Chopin, as interpreted by Charlie Morrow, Paik and Garrin create a surreal pastiche of fragmented, manipulated elements: The late ...
Single-channel screen recording of a live bot performance on Instagram (Walmart), November, 26, 2019.
Walking through Buffalo, New York's suburban Walden Galleria Mall.
In elegiac work, Kubota explores the relationship between two of the most influential figures in 20th century art and music. The core images are Kubota's own photographs of the famous chess match between Duchamp and Cage in 1968, in which the board, wired for sound, functioned as a musical instrument. Recordings of Cage's compositions accompany the stills and video footage, which Kubota electronically processes to abstraction.
Writes Cokes, "The video animation is based on the closing section of Cokes' and Perchuk's second collaborative presentation, 'Margins and Bubbles,' at 'Our Literal Speed 2' at the University of Chicago in May 2009. Visually, it features text excerpts from an interview between artist Tino Sehgal and critic / art historian David Joselit on contemporary art, the political potentials of the marketplace, and the positive value of 'consumer choice' that took place at OLS1 at ZKM in Karlsruhe."
The artist writes that this work, "a response to Pee Wee's Playhouse, focuses on the girl child, grappling with the fluidity of gender roles as she role-plays with her toys."
From behind a pyramid of TV monitors, perhaps calling to mind the TVs stacked for destruction in Ant Farm’s Media Burn (1975), Jenkins slowly rises, garbed in protective eye goggles and an American flag scarf. He begins to intone a haunting refrain: “You’re just a mass of images you’ve gotten to know, from years and years of TV shows…,” echoing the agitprop of the 1970s guerrilla television movement, which sought to tune people into their manipulation by commercial television. However, Jenkins trains his focus on mass media’s racial oppression.
