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In 229 as always...

/Text and Language/

Tony Cokes
We'll screen several works for video by this active artist. From the EAI site:

"In a series of videotapes and installations produced since the mid-1980s, Tony Cokes engages in cogent investigations of identity and opposition. His works question how race influences the construction of subjectivities (personal, cultural and historical), and how race, gender and class are perceived through what he terms the "representational regimes of image and sound," as perpetuated by Hollywood, the media and popular culture.

Cokes' analytical strategy is one of reframing and repositioning. His critiques are informed by contemporary cultural studies, poststructuralist theory, and popular texts; he quotes from sources ranging from Louis Althusser, Malcolm X and Catherine Clement to Public Enemy and William Burroughs. His works are often assemblages of archival footage, images from Hollywood films, text commentary,
voiceover, and popular music."

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John Smith
Associations
1975, 7 minutes

By using the ambiguities inherent in the English language, Associations sets language against itself. Image and word work together and against each other to destroy and create meaning.

Gargantuan
1992, 1 minute

"To master the one-minute time span requires considerable discipline, and few pieces, if any, had been shaped as genuine miniatures—most having the appearance of being extracts from larger works. The notable exception was John Smith's Gargantuan, which was not only the right length for the idea, but actually incorporated a triple pun on the word Ôminute.'"
—Nicky Hamlyn, "One Minute TV 1992", Vertigo (Spring 1993)

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William Wegman
We will screen several video works by this artist spanning the years 1970-1978.

Wegman began producing short, performance-oriented videotapes in the early 1970s, which are considered classics. Many featured his canine companion, a Weimaraner named Man Ray. These tapes are dead pan parodies of "high art" using sight gags, minimalist performance, and understated humor. Recorded as single takes in real time, Wegman used portable video's intimacy and low-tech immediacy to create idiosyncratic narrative comedy.

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Shelly Silver
1
2002, 3:15 minutes

1 is a short tape about longing, threat, power and seduction, with the camera functioning in turn, as aggressor, mediator and confessor. The split-screen image as well as the eerie sound track, made up of two versions of the same Miles Davis song run simultaneously, underline Silver's ambivalent take on the controversial subject matter, as well as calling the work's title into question.

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Plus works by Young Hae Chang Industries, John Baldesaari and more!

posted by ryan griffis at 9:51 AM Wednesday, September 19, 2007

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