The first Article that I would like to introduce from this online source is about Haris Epaminonda, a video artist who is currently working in Berlin, Germany. The interview was conducted by Sonia Campagnola.
Haris is a contemporary video artist who works with three-channel video installation pieces that are comprised of re-edited found footage. She uses simple optical effects, along with collage techniques and differences in color to come up with work that is highly engaging to the viewer. Her work is shown as installations in galleries and at festivals. Being that Haris works with found footage, the work is definitely international, including films and images from all around the world. The main approaches to making that are discussed are her inspirations for work. The interviewer questions her about how growing up in Cyrus affected her work, as well as going to school in London. Epaminonda talks about how a professor in the Humanities department helped her realize that printmaking was not for her, so she started to experiment with video. Her most recent work is driven by images and books, and connects the two by using different associations between true and fictional stories.
Link: http://www.afterall.org/onlinecurrent.html?online_id=35246344
The second Article I looked at was By George Clark about an influential 1960's avant-garde artist named Tony Conrad.
Ever heard of someone frying or drilling holes in to film then immediately throwing it in to a projector to see the results? Tony Conrad is that man to read about if these zany ideas are what you like to hear about. Conrad is an artist who has been making films, videos, and all sorts of wacky pieces of art for over 40 years. He is also a musician and a teacher. Many of his works include live musical performances to accompany the images being projected. He used to work in various art forms including film, but in the 1970's he moved over to video and made many collaborations with other artists. His work was usually performed live as an installation in galleries such as the Tate Modern, for which he opened with many acts such as his film "The Flicker". His work is described in the article as "a series of fragments, intersections and collaborations, rather than as a totality...". I think that this sort of work can, once again, bring us back the the old idea that the viewer completes the work.
Link: http://www.afterall.org/onlinecurrent.html?online_id=60
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1 comment:
Jason -
These are good, efficient summaries of the articles and the artists you encountered, testifying to some engagement with the reading done. Thanks for the time on corralling this reports.
What they are missing, though, is some of you. These reports ideally are a balance of the article and you, what the author of the article wrote and your critical thinking, your reaction to it.
Again, there is an evident investment here. These are good starts but I need a little bit more. Your comment on Conrad's work, how it relates to the Duchampean idea of spectator, is a good start. But tell me more.
What do you think of the work, as described? How do you think a viewer would "complete" Conrad's work - doesn't it sound rather assaultive? What do you think Conrad is up to?How does Epaminonda's use of found footage relate to, differ from Bruce Conner's?
These questions are just for instances, prompts that suggest how you could proceed in taking your thinking further. Again - the writing here offersfine summaries, good work. In the final round of blogs, I'd just like to see, in addition to work like this, more of you.
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