Braks2013

Glenn Phillips #braks2013

Anonymous — Tue, 12 Feb 2013 20:40:53 +0000

Glenn Phillips #braks2013 Anonymous (not verified) Tue, 02/12/2013 - 13:40

Disturbances and Distortions

Program by Glenn Phillips

Distortion, feedback, noise: some of the most powerful works of early video art are the result of astonishingly muscular manipulations of thevideo signal. Yet there is more to these lush and trippy abstractions than first meets the eye. This program samples artists’ approaches to analog processing and other forms of video manipulation in the 1960s and 70s, looking at the surprising array of techniques by which artists encoded conceptual, political, emotional, or narrative content into their works.

Wolf Vostell, Sun in Your Head, 1963, black-and-white, silent, 7:10
“Single Frame sequences of TV or film images, with periodic distortions of the image. The images are airplanes, women men interspersed with pictures of texts like: ‘silence, genius at work’ and ‘ich liebe dich.’ The end credit is ‘Television décollage, Cologne, 1963.”

Kohei Ando, Oh! My Mother!, 1969, color, sound, 14:00
Oh! My Mother was made using the feedback effect, which is produced by infinitely expanding the image by looping the video.”

Nam June Paik, Early Color TV Manipulations, 1965-68, color, silent, 5:18
Marked by a playful, irreverent sense of improvisation and experimentation, these experiments with image manipulation and synthesis form a link between Paik’s performance and sculptural works of the 1950s and early 1960s and the celebrated video works and installations of his later years.

Steina and Woody Vasulka, Excerpts from Vasulka Video, 1978, video, black-and-white and color, sound Stan VanDerBeek, Vanishing Point Left, 1977, color, sound, 9:30
In Vanishing Point Left, the “vanishing point” is an analogy for the metaphysics of watching the video screen, which assumes such forms as a mandala, flower or gyre.

Joanne Kyger, Descartes, 1968, single-channel video, black-and-white, sound, 11:25 Wolfgang Stoerchle, Sue Turning, 1973, video, black-and-white, sound, 12:00

Glenn Phillips is Principal Project Specialist and Consulting Curator in the Department of Architecture and Contemporary Art at the GettyResearch Institute in Los Angeles. His exhibition California Video won the International Association of Art Critics award for best exhibition of digital media, video, or film in 2008. His other exhibitions include Time/Space, Gravity and Light; Marking Time; Evidence of Movement; Reckless Behavior; Pioneers of Brazilian Video Art 1973-1983; Surveying the Border: Three Decades of Video Art about the United States and Mexico; and Radical Communication: Japanese Video Art 1968-88.

Prior to working at the Getty he was Assistant Curator for Special Projects at the Whitney Museum of American Art, where he worked on a number of exhibitions, including No Wave Cinema; The American Century: Art & Culture 1900-2000; the 1997, 2000 and 2002 Whitney Biennial exhibitions; Bitstreams: Art in the Digital Age; and Tony Oursler: The Darkest Color Infinitely Amplified. For the Pacific Standard Time initiative he is co-curator of the three-part exhibition It Happened at Pomona: Art at the Edge of Los Angeles 1969-73, and a member of the curatorial team for the exhibition Crosscurrents in L.A. Painting and Sculpture 1950-1970 at the J. Paul Getty Museum. He is co-director, with Lauri Firstenberg, of the Pacific Standard Time Performance and Public Art Festival.

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Mark Toscano #braks2013

Anonymous — Tue, 12 Feb 2013 20:35:50 +0000

Mark Toscano #braks2013 Anonymous (not verified) Tue, 02/12/2013 - 13:35

Film: An Object Lesson

A talk and tour through the film medium as object and experience.

Program by Mark Toscano

Film, as a medium based on our real-time temporal experience of it (and our ex post facto memory of it) is beautifully transient, existing largely in our minds, hearts, and memories as a deeply subjective, mutable, shareable experience. But another equally powerful aspect of the medium is its rich physicality: negatives, soundtracks, and prints, waiting to be activated by machinery to perform their contents for us. These objects sit in vaults, on shelves, under beds, on inspection benches, powerfully sensual and beautifully, fragilely, humanely physical, but the vast majority of people don’t experience or even consider this aspect of the medium. In most filmmaking, the makers have gone to great pains to hide the medium behind a wizard’s curtain. But in some filmmaking, this physicality is in intimate dialogue with that ephemerality.

“I’ve always appreciated Andrei Tarkovsky’s notion of “Sculpting in Time”, in relation to filmmaking, but over the years it has come to mean something very different for me as a filmmaker and archivist. Working for years now with film in a hands-on way has made me hyper-conscious of the medium as having a vividly and fascinatingly dual nature – as ephemeral experience in time, and as physical object in space.“
–Mark Toscano

Mark Toscano is a film preservationist for the Academy of Motion Picture Arts and Sciences Film Archive. Among other tasks, he searches out and preserves experimental and avant-garde cinema, particularly work from West Coast filmmakers.

Mark is aware that archivists can have a big impact on film culture. By selecting films to save, they expand the canon and invite researchers to consider work that might otherwise be missed. A curator’s enthusiasm can fuel new scholarship, and part of Mark’s mission is to bring the inventiveness of lesser-known avant-garde filmmakers to new prominence through both his capacity as a preservationist and as a programmer.

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Jennifer Reeder #braks2013

Anonymous — Tue, 12 Feb 2013 20:22:20 +0000

Jennifer Reeder #braks2013 Anonymous (not verified) Tue, 02/12/2013 - 13:22

ANSWER NOW
an installation by Jennifer Reeder

The Brakhage Center Symposium is proud to premiere a new installation by artist Jennifer Reeder in which “an afternoon rehearsal for the High School girl’s choir turns tense when the substitute conductor has a breakdown.” The piece will be installed in the ATLAS building’s Black Box Theater at the University of Colorado, �鶹ӰԺ all day on Saturday, March 16th.

Jennifer Reeder is a filmmaker and visual artist from Ohio. She constructs very personal narratives about landscapes, coincidence and trauma. Screenings include a solo screening at the Moderna Museet in Stockholm Sweden and group screenings/exhibitions at: The New York Video Festival, at The Lincoln Center; Double Heart/Hear the Art, at the Kunsthalle Exnergasse, Vienna, Austria; The 2000 Biennial at the Whitney Museum of American Art; In the Middle of Nowhere at the Yerba Buena Center for the Arts in San Francisco; Generation Z at P.S.1, New York; The 48th International Venice Biennial, Venice, Italy.

She was nominated for the 2000, 2001, 2002 and 2008 Rockefeller Grants for Film/Video/New Media and was also nominated for a 2001 Louis Comfort Tiffany Award for visual art and a 2004 Richard H. Dreihaus Foundation Award. She is a recent Efroymson Family Fund Fellow.

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Jennifer West #braks2013

Anonymous — Tue, 12 Feb 2013 20:11:10 +0000

Jennifer West #braks2013 Anonymous (not verified) Tue, 02/12/2013 - 13:11

The Poetics of Analogital – segue, surface, trace and social space

Presentation by Jennifer West featuring One Mile Parkour Film

Photograph by Liz Ligon

On Thursday, September 13th Jennifer West created a day-long performance adhering a one-mile-long filmstrip to the entire length of the High Line for one day. Visitors were invited to walk on, touch, draw, dance, and alter the filmstrip, which consisted of images filmed by West of locations on and around the High Line. Elementary school children performed a dance on the film, and visitors could use crayons, inkpads, and sharpies, to alter sections of the material.

Three Parkour performers – known for their ability to do flips, jumps, and handstands spontaneously in urban environments and rooftops – performed on the High Line under The Standard, New York. West filmed two of the Parkour performers in June and the resulting images were featured in the filmstrip along the park.

West then took the film back to her Los Angeles studio where she turned the altered filmstrip into a high definition digital format video entitled One Mile Parkour Film. Jennifer West is an American artist who lives and works in Los Angeles. She is known for her digitized films that are made by hand manipulating film celluloid. She has produced over 50 films since she started working this way in 2004. Wendy Vogel writes for Artforum.com, “Like her experimental predecessors, West forgoes narrative cohesion in favor of creating jumpy cuts and abstract visual collages––splicing, rolling, and drenching the celluloid using materials from Mylar tape to pickle juice, whiskey to candle smoke.”

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