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This work combines images of Dara Birnbaum's landmark pieces, among other works - with fascinating dialogues between Birnbaum and the curator Hans Ulrich Obrist as well as numerous insightful essays.
T.J. Demos explores Birnbaum's pioneering development of the possibilities of video as a medium, situating it historically amidst postmodern appropriation, media analysis and feminist politics.
KEYNOTE: A survey of leading women artists from the late twentieth century examining the crucial feminist contribution to the deconstructivist movement. Exhibition Itinerary: Neuberger Museum of Art Purchase College, State University of New York, Purchase January 15-April 3, 2011 Nasher Museum of Art at Duke University, Durham, North Carolina August 25-December 5, 2011 The practice of deconstructivism, a term describing artwork that examines the imagery of the popular media, was significantly shaped by dozens of important female artists during a critical era in late twentieth-century visual culture. These artists subverted their source material, often by appropriating it, to expose the ways that commercial images express imbalances of power. The mechanisms of power in mainstream art institutions were also subject to these artists' critique. This exhibition catalogue features a diverse group of North American women whose transformative and often provocative work deals with gender, sexual, racial, ethnic, and class-based inequities. Essays by leading critics discuss such topics as the importance of critical theory and sexual politics in the art world of the 1980s; how domesticity is represented in commercial media and the art that addresses it; the importance of psychoanalytic theory as a critical framework; and the sexualization of inanimate objects. AUTHORS: Nancy Princenthal is a New York-based writer and former Senior Editor of Art in America. Tom McDonough is Associate Professor of Philosophy, Interpretation & Culture and Comparative Literature, Binghamton University, State University of New York. Griselda Pollock is Professor of the Social and Critical Histories of Art, University of Leeds. Helaine Posner is chief curator and deputy director for curatorial affairs at the Neuberger Museum of Art. Kristine Stiles is Professor, Art, Art History and Visual Studies, Duke University. ILLUSTRATIONS 100 colour images *
Artists: John Baldessari, Ericka Beckman, Dara Birnbaum, Barbara Bloom, Eric Bogosian, Glenn Branca, Tony Brauntuch, James Casebere, Sarah Charlesworth, Charles Clough, Nancy Dwyer, Jack Goldstein, Barbara Kruger, Jouise Lawler, Thomas Lawson, Sherrie Levine, Robert Longo Allan McCollum, Paul McMahon, MICA-TV (Carole Ann Klonarides and Michael Owen), Matt Mullican, Tom Otterness, Richard Prince, David Salle, Cindy Sherman, Laurie Simmons, Michael Smith, James Welling, Michael Zwack.
An argument that video is not merely an intermediate stage between analog and digital but a medium in its own right; traces the theoretical genealogy of video and examines the different concepts of video seen in works by Vito Acconci, Ulrike Rosenbach, Steina and Woody Vasulka, and others. Video is an electronic medium, dependent on the transfer of electronic signals. Video signals are in constant movement, circulating between camera and monitor. This process of simultaneous production and reproduction makes video the most reflexive of media, distinct from both photography and film (in which the image or a sequence of images is central). Because it is processual and not bound to recording and the appearance of a “frame,” video shares properties with the computer. In this book, Yvonne Spielmann argues that video is not merely an intermediate stage between analog and digital but a medium in its own right. Video has metamorphosed from technology to medium, with a set of aesthetic languages that are specific to it, and current critical debates on new media still need to recognize this. Spielmann considers video as “transformation imagery,” acknowledging the centrality in video of the transitions between images—and the fact that these transitions are explicitly reflected in new processes. After situating video in a genealogical model that demonstrates both its continuities and discontinuities with other media, Spielmann considers three strands of video praxis—documentary, experimental art, and experimental image-making (which is concerned primarily with signal processing). She then discusses selected works by such artists as Vito Acconci, Ulrike Rosenbach, Joan Jonas, Nam June Paik, Peter Campus, Dara Birnbaum, Nan Hoover, Lynn Hershman, Gary Hill, Steina and Woody Vasulka, Bill Seaman, and others. These works serve to demonstrate the spectrum of possibilities in video as medium and point to connections with other forms of media. Finally, Spielmann discusses the potential of interactivity, complexity, and hybridization in the future of video as a medium.
A sourcebook of documentation on women artists at the forefront of work at the intersection of art and technology. Although women have been at the forefront of art and technology creation, no source has adequately documented their core contributions to the field. Women, Art, and Technology, which originated in a Leonardo journal project of the same name, is a compendium of the work of women artists who have played a central role in the development of new media practice.The book includes overviews of the history and foundations of the field by, among others, artists Sheila Pinkel and Kathy Brew; classic papers by women working in art and technology; papers written expressly for this book by women whose work is currently shaping and reshaping the field; and a series of critical essays that look to the future. Artist contributors Computer graphics artists Rebecca Allen and Donna Cox; video artists Dara Birnbaum, Joan Jonas, Valerie Soe, and Steina Vasulka; composers Cecile Le Prado, Pauline Oliveros, and Pamela Z; interactive artists Jennifer Hall and Blyth Hazen, Agnes Hegedus, Lynn Hershman, and Sonya Rapoport; virtual reality artists Char Davies and Brenda Laurel; net artists Anna Couey, Monika Fleischmann and Wolfgang Strauss, Nancy Paterson, and Sandy Stone; and choreographer Dawn Stoppiello; critics include Margaret Morse, Jaishree Odin, Patric Prince, and Zoe Sofia
Before Projection: Video Sculpture 1974-1995 shines a spotlight on a historical moment and a body of work in the history of media art that has been largely overlooked since its inception. The exhibition explores the connections between our current moment and the point at which video art was transformed dramatically with the entry of large-scale, cinematic installation into the gallery space. This exhibition will present a re-evaluation of monitor-based sculpture since the 1970’s and serve as a tightly focused survey of works that have been rarely seen in the last twenty years. Artists featured in the exhibition are Dara Birnbaum, Ernst Caramelle, Takahiko Iimura, Shigeko Kubota, Mary Lucier, Muntadas, Tony Oursler, Nam June Paik, Friederike Pezold, Adrian Piper, Diana Thater, and Maria Vedder.--Gallery website.
A personal and expert account of the artists and events that defined the medium's first 50 years - now in paperback Since the introduction of portable consumer electronics nearly a half century ago, artists throughout the world have adapted their latest technologies to art-making. In this new paperback edition of her acclaimed book, curator Barbara London traces the history of video art as it transformed into the broader field of media art - from analog to digital, small TV monitors to wall-scale projections, and clunky hardware to user-friendly software. In doing so, she reveals how video evolved from fringe status to be seen as one of the foremost art forms of today.
'Destroy, She Said' was the title of the first exhibition in the Julia Stoschek Collection, the opening of which prompted a great deal of media coverage last summer in Düsseldorf. One of the show's distinctive features was that the exhibition spaces were made to measure for a total of forty artistic positions by the Berlin architects Kühn Malvezzi, thus demonstrating the potential for the presentation of contemporary media-supported art. This volume documents the exhibition and its remarkable architectural concept. All of the works - by artists such as Doug Aitken, Paul Chan, Robert Smithson, Monica Bonvicini, Natasha Sadr Hagidhian, Dara Birnbaum, Klara Liden, and Olafur Eliasson - are presented in texts and illustrations and situated in the larger context of this exquisite private collection. The book is completed by Daniel Birnbaum's essay on current time-based art and crucial aspects of selected works from the Julia Stoschek Collection as well as by Kaye Geipel's text dealing with the history and architecture of the century-old industrial building--Publisher's website.