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Posts Tagged ‘Video Art’

Dixon and Foster – Sla307 Art Space Video Screening

Sunday, November 27th, 2016

On November 12, 2016, Gwendolyn Audrey Foster and I had a screening of our videos in New York City.

Here’s a brief, time lapse video shot by Laura Zavecka of our video show at the Sla307 Art Space on West 30th Street in Manhattan on November 12, 2016. We had a great crowd – notice how a lot of people coming tumbling in the door just as the lights go down – and the projection and the crowd response were excellent. It’s one of the first time these videos, all of which are on Vimeo online, have been projected for an audience. We had another screening of our work on the previous evening, November 11th, at the Amos Eno Gallery in Brooklyn.

As mentioned in UNL Today, “Wheeler Winston Dixon, professor of film studies, and Gwendolyn Audrey Foster, professor of English and film studies, had two screenings of their new video work. The screenings took place on Nov 11 in The Amos Eno Gallery in Brooklyn, New York and Nov. 12 at The Sla307 Art Space, in New York City. Videos by Dixon include Life of Luxury, An American Dream and Beat Box. Foster’s videos include Echo and Narcissus, Mirror, Tenderness, and more.” It was a great evening, and we look forward to more screenings in the future.

Click here, or on the image above to see the video.

Gwendolyn Audrey Foster’s “Men and Machines” Series on Vimeo

Thursday, November 24th, 2016

Gwendolyn Audrey Foster has a new series of videos on the theme of “Men and Machines.”

“The meaning of things lies not in the things themselves, but in our attitude towards them. The machine does not isolate man from the great problems of nature but plunges him more deeply into them.” — Antoine de Saint-Exupery

“It is interesting to view Nature through the lens of construction ’sight’ – after all – is Nature itself not the Mother of all construction sites? I wonder if we have always viewed the world as a potential building site? The binary between these coexistent worlds is not so easily defined. Are domesticated plants and meadows, for example, all that ‘natural’ — or are they not liminal hybrids; both ‘natural’ and ‘artificial?’ Are machines ‘natural’ or hybrid and liminal?

Modern experience of the environment is mediated through a mechanical duo-consciousness. I admire the often breathtaking beauty of ‘Nature’ as an ongoing organic ‘construction site’; but I am also in awe of human industry and construction – particularly our aural and visual resonances – waste and decay in tracings, relics, and ruins.

The ‘Men and Machines’ series invites meditation into the complex relationship between man, machine, and ‘Nature’ – the politics, philosophy and aesthetics of the sights and sounds of industry as they are mechanically mediated and manufactured by the camera eye and ear.” – Gwendolyn Audrey Foster

Videos in the “Men and Machines” series include:

Echo and Narcissus – vimeo.com/187504524

Construction Site – vimeo.com/188719797

Johnny’s Machines – vimeo.com/188380596

Machine – vimeo.com/190509450

Inside – vimeo.com/189477394

Col Bleu – vimeo.com/185865697

Mirror – vimeo.com/184270334

Not – vimeo.com/172252797

Waste – vimeo.com/165976297

Product – vimeo.com/179584124

Selfie – vimeo.com/178762302

Foster’s meditational videos are both moving and insightful – essential viewing.

Dixon & Foster Video Shows in NYC November 11 & 12

Sunday, November 20th, 2016

From The UNL Newsroom: Two New Video Shows in New York City.

As mentioned in UNL Today, “Wheeler Winston Dixon, professor of film studies, and Gwendolyn Audrey Foster, professor of English and film studies, had two screenings of their new video work. The screenings took place on Nov 11 in The Amos Eno Gallery in Brooklyn, New York and Nov. 12 at The Sla307 Art Space, in New York City. Videos by Dixon include Life of Luxury, An American Dream and Beat Box. Foster’s videos include Echo and Narcissus, Mirror, Tenderness, and more.”

We’re grateful to the galleries for inviting us to screen our work, and for the excellent turnout at both shows, especially the Saturday screening in Manhattan. Altogether, we screened some 40 new films in two one-hour programs, with excellent projection and sound, and a deeply appreciative audience. Indeed, since these videos are publicly curated on Vimeo, this was the first time that they’ve been screened in full theatrical format, which was an experience in itself.

Again, thanks to everyone involved for making these programs possible.

New Video – Kaleidoscope – See It Here

Monday, October 31st, 2016

I’ve just finished a new video – Kaleidoscope – and you can see it here, free.

I’ve been working lately in HD video, making nearly one hundred new videos of varying lengths and aesthetic approaches in the past year, but here’s a new one that I think everyone will enjoy – an ever-changing, constantly morphing video entitled Kaleidoscope. Here’s some quotes on the thought behind it; always the same, yet always changing, our lives are kaleidoscopes of endless possibility, constantly moving from one moment to the next.

“At any one time language is a kaleidoscope of styles, genres and dialects.” – David Crystal

“At the height of laughter, the universe is flung into a kaleidoscope of new possibilities.” – Jean Houston

“Our days are a kaleidoscope. Every instant a change takes place in the contents. New harmonies, new contrasts, new combinations of every sort. Nothing ever happens twice alike. The most familiar people stand each moment in some new relation to each other, to their work, to surrounding objects. The most tranquil house, with the most serene inhabitants, living upon the utmost regularity of system, is yet exemplifying infinite diversities.” – Henry Ward Beecher

Just click here, or on the image above to view the video, and see for yourself.

Pipilotti Rist’s New Video Retrospective

Thursday, October 27th, 2016

The renowned video artist Pipilotti Rist has a new retrospective of her work in Manhattan.

As Roberta Smith reports in The New York Times, “the Swiss artist Pipilotti Rist has gone supernova at the New Museum. A 30-year survey, “Pipilotti Rist: Pixel Forest,” traces her ever-expanding journey into the wilds of video, with a rapturous fusion of lights, sights and music that ebbs and flows through the museum’s main gallery floors.

It is also a journey into different kinds of intimacy — with ourselves, with one another and with nature. Naked bodies, and myriad plants and flowers, often seen under water and in immense close-up, drift and mingle amid kaleidoscopic color.

And because Ms. Rist began making video in the long ago days of analog and has rarely met a technological breakthrough that she couldn’t use, the 30-year arc of her work also traces much of the medium’s progress, as explored by one of its true naturals.

Arranged mostly chronologically from the bottom to the top of the building, the show has been organized by Massimiliano Gioni, the museum’s artistic director, with Margot Norton and Helga Christoffersen. Its 24 works begin with several single-channel videos from the late 1980s, when Ms. Rist more or less backed into art with the first work she ever exhibited . . .

The show culminates in two floors of aqueous, immersive environments, radiant with color, one completed this year. Sometimes comfortable seating — big pillows or actual beds — is provided for viewers to relax on while watching and listening, and perhaps leave with a sense of encountering nature as never before.”

Read the entire article by clicking here, or above; this a stunning show.

Falling Falling – Mesmerizing Video Art

Sunday, May 3rd, 2015

Want to see some truly mesmeric video art? Then just click here, or on the image above.

Gutai Art Exhibition at The Guggenheim Museum

Wednesday, May 15th, 2013

I recently saw a stunning show of Gutai Art at the Guggenheim Museum in New York.

As Ming Tiampo, Associate Professor, Art History, Carleton University, Ottawa, and Alexandra Munroe, Samsung Senior Curator, Asian Art, Solomon R. Guggenheim Museum, New York wrote of the exhibition, “Gutai: Splendid Playground presents the creative spectrum of Japan’s most influential avant-garde collective of the postwar era. Founded by the visionary artist Yoshihara Jirō in 1954, the Gutai group was legendary in its own time. Its young members explored new art forms combining performance, painting, and interactive environments, and realized an ‘international common ground’ of experimental art through the worldwide reach of their exhibition and publication activities. Against the backdrop of wartime totalitarianism, Gutai forged an ethics of creative freedom, breaking through myriad boundaries to create some of the most exuberant works and events in the history of Japanese and international avant-garde art. Yoshihara’s Please Draw Freely (1956/2013), a collective drawing on a freestanding signboard reconceived for the Guggenheim’s rotunda and created by visitors, invites adults and children to collaborate, think, and imagine for themselves.

The Gutai Art Association (active 1954–72) originated in the cosmopolitan town of Ashiya, near Osaka, in western Japan. Spanning two generations, the group totaled 59 Japanese artists over its 18-year history. The name Gutai literally means ‘concreteness’ and captures the direct engagement with materials its members were experimenting with around the time of its founding in 1954. From its earliest festival-like events, Gutai artists sought to break down the barriers between art, the ordinary public, and everyday life, and continuously took on new artistic challenges using the body in direct action with materials, time and space, and nature and technology. Charting Gutai’s creation of visual, conceptual, and theoretical terrains, this exhibition is organized throughout the museum in chronological and thematic sections: Play, Network, Concept, the Concrete, Performance Painting, and Environment Art.

The outdoor exhibitions of 1955 and 1956 literally set the stage for the group’s artistic strategies. Held in a pine grove park in Ashiya, these events brought art outside and released it from its confines, like Motonaga Sadamasa’s magisterial Work (Water). The Guggenheim commissioned the artist to recreate this work for the rotunda, where he hangs common, polyethylene tubes of varying widths filled with brightly-colored water between the rotunda levels, making giant brushstrokes out of catenaries in the open air that catch the sunlight (Work [Water], 1956/2011).

Moving from what Yoshihara decried as ‘fraudulent . . . appearances’ to lived reality, Gutai artists invented ways to go beyond contemporary styles of abstract painting into concrete pictures, blurring representational significance by incorporating raw matter, as well as time and space, as the stuff of art. Tanaka Atsuko’s Work (Bell) (1955/1993), reimagines painting as an acoustic composition of living sound through a sequential ringing of electric alarm bells wired along the entire expanse of Rotunda Level 2. Her interests in schematic and technical representation, wiring systems, lights, and the human form reached a pinnacle in her best-known work, Electric Dress (1956). The artist wore this spectacular costume made of flashing incandescent light bulbs painted in bright yellow, green, red, and blue for her performance during Gutai Art on the Stage (1957), whose documentary film is projected on Rotunda Level 5.

Like Art Informel and Abstract Expressionism, Gutai rejected psychic automatism for acts of corporeal materiality in the real world. Yoshihara’s involvement with the revitalization of Japanese traditional arts, specifically Japanese calligraphy, also informed his idea of art making as an unmediated experiential encounter between artist, gesture, and material. Shiraga Kazuo’s Untitled (1957), made by the artist painting on the floor with his bare feet, or Murakami Saburō’s Passage (1956), a performance painting made by the artist flinging himself through taut paper screens, both demonstrate Gutai’s call to release the ’scream of matter itself.’ In the context of live events, Gutai artists extended their objectives to theater, music, and film. The Gutai Card Box (1962) transformed the act of viewing paintings into an interaction, with the viewer purchasing a work from the artist hidden inside a vending machine.

As the global pioneers of environmental art, Gutai’s participatory environments take the form of organic or geometric abstract sculptures incorporating kinetic, light, and sound art, turning exhibition spaces into chaotic dens of screeching, pulsing, machine-like organisms. Yoshida Minoru’s erotic machine-sculpture Bisexual Flower (1969) mines the psychedelic effects of this approach. Gutai environments drew from contemporary architecture, technology, and urban design to promote a futuristic, space-age aesthetic. This can be seen in Nasaka Senkichirō’s giant armature composed of aluminum plumbing pipes punctured with holes, broadcasting a music composition as it zigzags its way up the exhibition space. This site of creativity is what Shiraga called ‘a splendid playground’ and what Yoshihara sought as a ‘free site that can contribute to the progress of humanity.’”

I was lucky enough to see the show — which ran from February 15–May 8, 2013 — on its last day of exhibition; I was unaware at the time that the show would soon be dismantled, but I was stunned by the originality, lack of commercialism, and genuine sense of wonder that the show displayed, which was also documented in numerous short films and videos projected throughout the museum. The Gutai movement was clearly very much ahead of the curve in terms of art in the United States, and in the happenings and performance pieces of the late 1950s and early 1960s done in the US, you can more than a little of Gutai’s influence.

However, due to the fact the international boundaries were more defined during the pre-web era than they are now, very little of Gutai’s output made it to the United States, except for those artists who visited Japan during the period when the group was active, and obviously took home notes. The other aspect of the Gutai movement that’s fascinating is that they knew when they had accomplished ewhat they wanted to do, and having worked continuously on creating boundary-breaking art since 1954, called a halt to the group’s activities in 1972, rather than just continuing on as a commercial entity. This is art at it’s purest, most genuine, and most affecting.

Click here, or on the image above, for a video on this exceptional show.

Jennifer Steinkamp’s Madame Curie Video Installation

Sunday, September 9th, 2012

Click here, or on the image above, to see a brief video excerpt from Madame Curie.

Jennifer Steinkamp, whose video installations are reminiscent of the work of Pipilotti Rist, has created a first class video installation piece with this homage to Marie Curie, who in her spare time was an avid gardener. As Steinkamp notes of this endlessly looping video, which has been screened at numerous venues, and just finished up a three month run at The Sheldon Museum of Art here at UNL (it closed September 9th, 2012), the work “is inspired by [my] recent research into atomic energy, atomic explosions, and the effects of these forces on nature. Marie Curie was the recipient of two Nobel Prizes for creating the theory of radioactivity, and discovering radium and polonium. She was also an avid gardener and lover of flowers. An enveloping panoramic work, the new piece activates a field of moving flowers and flowering trees [. . .] Flowers rendered realistically for this new work include marsh marigolds, may flower, chestnut blooms, and hop plants, among many others drawn from a list of over 40 plants mentioned in Marie Curie’s biography written by her daughter, Eve Curie.”

Click here to see a slide show of the original installation of the piece at the Museum of Contemporary Art San Diego.

About the Author

Headshot of Wheeler Winston Dixon Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of thirty books and more than 100 articles on film, and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. All comments by Dixon on this blog are his own opinions.

In The National News

Wheeler Winston Dixon has been quoted by Fast Company, The New Yorker, The New York Times, the BBC, CNN, The Christian Science Monitor, US News and World Report, The Boston Globe, Entertainment Weekly, The Los Angeles Times, NPR, The PBS Newshour, USA Today and other national media outlets on digital cinema, film and related topics - see the UNL newsroom at http://news.unl.edu/news-releases/1/ for more details.

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