video art – Page 4

February 23, 2024February 23, 2024, by Sandra Moore

Self-Storage by Beverly Peterson, at TSL in Hudson

A room with many pieces of cardboard

Description automatically generated — Chaos, Video projection mapping and AI animation splash around large and small white cardboard boxes; these display facets of the memories and experiences that are hard to relinquish.

Artist Beverly Peterson has been squirreling away the components of Self-Storage in her studio over several years—collecting, modifying, situating, upending, and repositioning things, paintings, photographs, video, and film. She describes this work as a “deeply personal, emotional, and immersive experience that invites visitors to reflect on their own memories as they explore a dreamlike environment.” It is that, but that’s like describing a particular person as an “ambulating biped with hair.” There’s more.

February 1, 2024February 1, 2024, by Noa Charuvi

Blue As An Orange

The mysterious elevator door facing the busy corner of Broadway and Canal takes you to the vast and brightly lit space of Ulterior Gallery, which is currently presenting Keren Benbenisty’s second solo show with the gallery titled Tristeza II. A continuation of a 2021 show by Benbenisty, named after the same lethal virus that infects citrus trees, comprises a series of new works in various media. At the center is a 14-minute video narrating the artist’s attempt at cultivating a blue orange, a project she has been occupied with for the past several years: The bluranj, as she named it, or Tapuchol, from the Hebrew word for orange, “Tapuz” and blue, “Kachol”. The video takes us through footage from her visits to an Israeli agricultural research institute, where she met with scientists who specialize in grafting new citrus species. They questioned her ambition – why a blue orange? Benbenisty does not offer a logical explanation but rather a poetic one. The works in the exhibition tell her personal story and provide a window into the larger narrative of the region.

January 26, 2024January 18, 2024, by Art Spiel

Jeanne Verdoux’s Female Vaisselle at Sculpture Space

previewing exhibition

A white and orange plastic mannequin

Description automatically generated — Ballerina, Ceramics & glaze, 17x12x9.25”, 2023

Brooklyn artist Jeanne Verdoux’s latest exhibition, Female Vaisselle, at the Sculpture Space NYC from February 2 to March 2, 2024, marks her first solo show in New York City. Verdoux captures the essence of the female form through a blend of ceramics, drawings, monoprints, and video art. The title itself is a linguistic play, merging the French word “vaisselle” (meaning tableware) with the English “vessel,” reflecting the dual themes of domesticity and the female body as a container of multifarious experiences.

January 8, 2024December 24, 2023, by Anna Mikaela Ekstrand

The Immigrant Artist Biennial – In Dialogue

Portraiture, Archives, and Representation: Golnar Adili, Erika DeFreitas, and Jonathan Ojekunle

On the left: Jonathan Ojekunle. *Shining Light*, 2022. Oil, acrylic on canvas. 60 x 48 in. Courtesy of the artist and The Immigrant Artist Biennial. Courtesy NARS Foundation. Photographed by Young Yu Don.

Oftentimes, in thinking about the representation of the human form in art, people can get very attached to the ‘abstraction’ versus ‘figuration’ binary. These respective styles frequently get coded as opposites, and certain kinds of politics are ascribed to each. For example, ‘figuration’ is coded as a kind of politics of representation, whereas ‘abstraction’ is a politics of refusal or resistance to legibility. However, the work of Golnar Adili, Erika DeFreitas, and Jonathan Ojekunle, all on view in The Immigrant Artist Biennial 2023: Contact Zone, functions beyond this binary in fresh ways. We interviewed the artists about portraiture and its relationship with archives and representation.

January 4, 2024January 6, 2024, by Kaitlin Anne Vervoort

A Story of Immigration, Heritage, and Identity: Invisible Bodies on View at Pennsylvania State University

Installation view, Invisible Bodies, at Penn State University (HUB-Robeson Galleries), 2023. Images courtesy of The Border Gallery and HUB-Robeson Galleries

Installation view, Invisible Bodies, at Penn State University (HUB-Robeson Galleries), 2023. Image courtesy of The Border Gallery and HUB-Robeson Galleries.

As one approaches “Art Alley,” part of the Hub-Robeson Galleries at Pennsylvania State University, it is the vibrant green walls that first draw one’s attention. Painted green for the “support for an open immigration system, allowing immigrants to contribute to the nation’s labor force, Invisible Bodies: An Exploration of Migrant Labor Through an Artistic Lens, curated by The Border Gallery and Emireth Herrera Valdes, brings together fifteen artists from diverse backgrounds to contemplate labor, immigration, and identity in the United States.

November 20, 2023November 20, 2023, by Xuezhu Jenny Wang

The Immigrant Artist Biennial, In Dialogue

Sanié Bokhari and Umber Majeed Discuss the Forbidden

Sanié Bokhari. It’s 11.49 pm here, 2022. 36 x 48 in. Acrylic on canvas. Courtesy of the artist and The Immigrant Artist Biennial.

As part of The Immigrant Artists Biennial: Contact Zone, Sanié Bokhari, and Umber Majeed present their work in the Enmeshed: Dreams of Water group exhibition. As artists of Pakistani descent currently residing in the US, both Bokhari and Majeed tap into the changing landscape of globalization and the unstable experience of international migrants’ identity formation. Evoking water as a symbol of fluidity and change, Bokhari’s painting and Majeed’s video deploy a metaphoric framing that is beautiful and complex. In this conversation with Jenny Wang, they critically reflect on the geopolitics of belonging and identity.

October 24, 2023October 23, 2023, by Anna Mikaela Ekstrand

The Immigrant Artist Biennial – In Dialogue

Moving Image: Nicholas Oh & Ayoung Justine Yu, Alexander Si, and Masha Vlasova

A sun shining through the trees

Description automatically generated — Masha Vlasova. *Waterlands*, 2022. Experimental film,15 min. 4K. Courtesy of the artist and The Immigrant Artist Biennial.

Surrealists invigorated the film genre in the 1920s and 30s, especially the Spaniards Luis Buñuel and Salvador Dalí—who at the time were living in Paris—with their non-linear narrative film Un Chien Andalou (1929). Surrealist elements reign in The Immigrant Artist Biennial 2023: Contact Zone’s exhibition Excavated Selves, Magic Bodies at Alchemy Gallery—where surreal elements allow bodies to thrive, often in hostility. A garment used in the video work Mourning Ritual created by artist duo AYDO (Nicholas Oh & Ayoung Justine Yu) on the border between North and South Korea is included in the show. It uses spirituality, ancestry, and surreal landscape to engage with the separation of families and loss of connection. In Parasites and Vessels at Accent Sisters, Alexander Si employs video matter of fact to document his process of crafting a Birkin bag. Masha Vlasova’s poetic work Waterlands investigates surface and texture in the landscape in Enmeshed, Dreams of Water at NARS Foundation.

October 23, 2023October 14, 2023, by Art Spiel

The Mirror Blue Night at Undercroft Gallery

Featured Project

A room with art on the wall

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The Mirror Blue Night originated from an idea artist and curator Patrick Neal had for a show called Dark Noir, referencing the character of the city in the evening hours. When Neal was later invited to curate at the Undercroft Gallery, this idea expanded to include nocturnes and night in general. The gallery is located beneath The Church of Heavenly Rest on Museum Mile, and in this context, Neal began to look for spiritual echoes, considering how evening and twilight hours evoke the afterlife, the cosmos, anonymity, peace, and fear. “I had in mind depictions of darkness but also considered night as a condition that occupies half of our days and half of our lives, with all the symbolic, psychological, and temporal associations that come with it.”

September 25, 2023September 3, 2023, by Etty Yaniv

Peter Eudenbach: From Cricket Songs to Solar Panels

In Dialogue

A framed picture of a person sitting in a chair

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Virginia-based artist Peter Eudenbach says that while he has always been interested in making things, his pathway to studio art was through the humanities. The history of art and ideas became part of his language even before he found his voice as an artist. His belief that studio practice has the most potential to make sense of human experience was a significant driver in his choice to pursue an art career.

July 7, 2023June 22, 2023, by Hovey Brock

Mark Tribe: Learning to Love the Future

HOT AIR

Mark Tribe, *Bottsford Hollow,* 2012, inkjet print, 24” x 38”. From the series *Rare Earth.*

A founder of Rhizome, Mark Tribe is known for his early contributions to the field of new media art and his socially-engaged performances and installations. His current practice engages the power of aesthetic experience to illuminate the challenges we and future generations will face in the climate crisis. Since 2012, he has made landscape pictures that unpack American ideas about nature and land, from Manifest Destiny to contemporary environmentalism. In this interview, Mark talks about his views on the climate, his landscapes, and his integration of machine learning tools (AI) into his latest project Learning to Love the Future.