Posts Tagged ‘video’

A Moment with “The Man”: Thoughts on Ragnar Kjartansson’s Recent Work

Through his refreshing lack of self-seriousness or sanctimony, Ragnar Kjartansson has cut a jagged, joyful figure on the contemporary art scene. Indeed, with solo exhibitions in Boston and New York, the artist has recently been favored with the art world’s fickle attentions and is having something of a well-deserved moment. Ragnar Kjartansson, “The End–Venice,” 2009. Performance view. Venice, June 2009. Courtesy of the artist, Luhring[.....]

Looking Skyward

Skyward Installation

In an unassuming brick building on a gray Willamsburg street, adjacent to a used car lot and several doors down from a polythene bag manufacturer, there is a portal to the West Coast. Kevin Cooley’s Skyward, currently on view at the Boiler—the project space of the Pierogi Gallery—captures the quintessence of Los Angeles life: the car as constant, the looping freeways, the towering palm trees[.....]

HELP DESK: Digital Dilemma

Cory Arcangel, Sweet 16, 2006. Projection from a digital source, dimensions variable, edition of 5

Welcome to HELP DESK, where I answer your queries about making, exhibiting, finding, marketing, buying, selling–or any other activity related to–contemporary art. Together, we’ll sort through some of art’s thornier issues. Email helpdesk@dailyserving.com with your questions. All submissions remain strictly anonymous and become the property of Daily Serving. HELP DESK is co-sponsored by KQED.org.I recently had to pick the edition size of a digital interactive[.....]

Film vs. Digital: Why the “vs.”?

Malcolm Le Grice, "Berlin Horse" (1970), still from a multi-projection film

A lively, critic-to-critic dialogue published recently in The New York Times[i] left me pondering over the persistently blinkered nature of so much “digital age” discourse on film.  Moving imagery has long been implicated and explored in and across myriad cultural and creative contexts, yet the breadth, depth, and diversity of filmic practice has been, and continues to be, belied by a narrow focus on commercial[.....]

“Hello, all but forgotten piece of 1970s feminist Earth Art, have you ever seen a transsexual before?”

Liz Rosenfeld, Untitled [Dyketactics Revisited], 2005. Video transfer.

Sight, acknowledgment, and shared experience all figure prominently in Hybrid Narrative: Video Mediations of Self and the Imagined Self, currently at Mac Arthur B Arthur in Oakland, CA. Artists Liz Rosenfeld, Chris E. Vargas, Sofia Cordova and Shana Moulton make themselves “seen” though video, film transfer, installation and performance. Rosenfeld’s Untitled (Dyketactics Revisited), a 16mm film transfer to video, brings us to another time both[.....]

Gabríela Friðriksdóttir: Crepusculum

Comprising only a large installation at the Schirn Kunsthalle, Gabríela Friðriksdóttir’s Crepusculum – Latin for “twilight” or “dusk” – is a mixed-media, polyphonic, physical exploration of metaphysical structures that govern the human psyche, and speculates that an enigmatic and irrational system of signs, meanings and forms counterbalances the deceptively ordered exteriors of our existence. Above all, it is an experiential and tactile show that prioritises[.....]

Vernon Ah Kee

The Palm Island riot and its aftermath are the focus of Indigenous artist Vernon Ah Kee’s latest exhibition Tall Man, held in conjunction with the Melbourne International Arts Festival and Gertrude Contemporary. Comprising three segments – a video installation, a portrait and text – the series is an examination of the ongoing cruelty and official indifference toward the Aboriginal Community in Australia. In 2004, indigenous[.....]