Posts Tagged ‘Vito Acconci’

Rituals of Rented Island at the Whitney Museum of American Art

Julia Heyward, God Heads, performance part of “Performances: Four Evenings, Four Days” at the Whitney Museum of American Art, February 28, 1976. Courtesy the artist

Peggy Phelan said it best: “Performance’s only life is in the present.”[1] Slippery in designation and impermanent by nature, a performance is not the same as the video of a performance. The viewer must be present for not only the sights and sounds of the performer, but also the smell, the temperature, the crowd, the fidgeting in a folding chair, or standing on a concrete[.....]

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[.....]

For A Long Time at Roberts & Tilton

In The Body in Pain: The Making and Unmaking of the World, scholar Elaine Scarry describes the inability of language to interpret and express physical pain: “By its very nature, pain resists, even destroys the language that grapples with it.” But what of the capacity of visual art to interpret and translate this bodily experience? “For a Long Time”, on view now at Roberts &[.....]

This Space is Mine

Today we continue our week-long series Force of Failure with John Galliano, Natalie Portman and Vito Acconci in this week’s L.A. Expanded Column. FORCE OF FAILURE: DailyServing’s latest week-long series L.A. Expanded: Notes from the West Coast A weekly column by Catherine Wagley John Galliano has a lavish-sounding last name (he shares it with an Italian liqueur), and lavish taste (“He knows, and we know,[.....]