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ARTCAT

CALENDAR | HOSTING



A Moving World

Gallery W 52
31 West 52nd Street, 212 807 0832
Midtown
January 23 - April 10, 2007
Reception: Wednesday, January 31, 6 - 8 PM


In keeping with its continued commitment to contemporary art, the Gallery’s 2007 program is organized as a series of exhibitions focusing on artists working with video. The year-long program will explore new media’s role in contemporary art and its relationship to painting, drawing, photography and sculpture by emerging and established artists.

The first exhibition, A Moving World, explores the manner in which video art defies boundaries and easy categorization. Never defined by a single aesthetic vocabulary or concern, video has thrived on divergent and even opposing tendencies. Through the very heterogeneity that defined the genesis of the medium, the artists in A Moving World show the breadth of video art today, seamlessly intertwined with photography, painting and sculptural practice.

Merging new media with traditional craft, Todd Arsenault reconfigures bits of information, somewhere between a pixel and a brushstroke, into explosive shards of color and texture.

Michael Bell-Smith alters and reconfigures both lo-fi imagery and complex animation into computer-based digital loops. His videos collect an array of landscapes and horizons taken from video games: idyllic forests, deserts, castles, skylines and oceans.

As with some of the best early video, Euan Macdonald’s work revolves around a stationary camera recording an event in real-time—or rather, capturing a moment dependant upon a staged set of conditions.

Adam Putnam’s work draws out the theatricality of a darkened passage with slight perceptual shifts and a quiver of light, the minute variations turning inanimate spaces into performative architecture.

Mariah Robertson shows video’s potential to transpose intimate, isolated points of experience into artistic subject matter. Vamping on cinematic language, including an ersatz version of the `day for night’ shooting technique, she uses a paucity of means to maximum effect.

Christian Siekmeier’s territorial markings in his videos keep to his interest in hunting and hunting rituals while also harkening back to the character of seminal video work: the mapping out of a specific space as a zone of artistic intervention.

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