This exhibition is inspired by the term “golden hour,” which denotes the ephemeral moment of perfect cinematic twilight. From stereoscopes to soundtracks, contemporary artists in this show draw upon early film techniques to imagine new possibilities for the motion picture. The contemporary artist’s relationship to film, perhaps the most important medium of the last century, is that of fan, critic and creator. From summer trailers and online reviews to the 19th century study of hysteria and the war in Iraq, these works entertain the politics and the poetry of the moving image in the information age and popular culture.
Borrowing a suspenseful soundtrack and the cinematic language of the Italian “New Wave,” the narrative in Karina Aguilera Skvirsky’s video, shifts between the constructed, the real and the banal.
Stephan Apicella-Hitchcock’s project A Triangulation, features sound recordings made en route to the Aeolian Island, north of Sicily, in search of “Anna” who disappeared from Antonioni’s film L’Avventura.
Statically remixing archival footage, Une Historie de Sange (Story of the Monkey), an installation by Matthew Bakkom, harks back to analog editing, each loop in the chain is a one-second clip of found film.
Charming Augustine, a 40-minute stereoscopic film by Zoe Beloff, links the prehistory of film with the study of hysteria, will be screened at GAS on Tuesday, October 24, show times: 7:30 and 8:30pm.
Matthew Buckingham’s book One Side of Broadway transforms a photographic survey into a mythic journey along 84 blocks, noting along the way such motion picture firsts as the window from which New York City was given its first close-up as well as locations of the early movie houses.
In Sound Design for Future Films, Melissa Dubbin & Aaron S. Davidson focus on sound as primary source material, supplying 6 other collaborating filmmakers and video artists with a two-and-a-half-minute sound design, in which sonic events, Foley effects and aural narratives become principal players in new moving images.
Rebecca Hackemann’s optical sculptures revive the stereoscope as an early form of popular entertainment and prompt viewers to “peek, “look” and “see” her political and philosophical imagery in 3-D.
Scott Hug’s composite movie trailers lay bare the artifice and allure of “coming attractions” for summer blockbusters giving viewers access to the disturbing recurring themes both visual and narrative that underpins so many of them collectively.
Jon Kessler’s installation elaborates upon his recent hi-tech/ low-tech mechanical sculptures, which present the viewer with a dystopic reality where life is compromised by a feeling of anxiety, fragility and ironic self consciousness.
Joe McKay’s Prereview playfully takes a stab at the industry of movie reviews by asking the audience to review unseen movies.
Kambui Olujimi’s How to Climax/ His and How to Climax/ Hers use the photographic technique of Muybridge to dissect a performed orgasm in a series of consecutive frames. By focusing each shot on the face of the performer one oscillates from looking at these photographs as erotically charged film stills, scientific observation and “how to” manuals.
Lisa Oppenheim uses documents from The Library of Congress visual archives. By reusing and manipulating historical documents she explores the relationship between image, idiom and time.
Jenny Perlin’s Review combines headlines about the war in Iraq with interjections speech from major classical operas, and receipts from movie tickets and film rentals, connecting the daily experience of news with the subsequent escape into cinematic entertainment.