From the Archives | Video in America
The Everson’s commitment to video art began in 1971 with the launch of one of the first exhibition programs in the country to feature the work of video artists, and today the Everson’s historic video art collection contains over 400 tapes. Over the last several years, the Museum has worked to conserve and digitize a significant portion of the collection and this exhibition features a number of the newly digitized works.
July, Pacific Northwest
Before You Go is a two-part video series by artists Maikoiyo Alley-Barnes and Roland Dahwen Wu. With their films Sacred (2014) and May 35 (2017), filmed in Washington and Oregon respectively, these Pacific Northwest (PNW) artists employ dreamlike narrative devices for accounting time, space, and labor in connection to the land. The PNW is romanticized for the fortitude of its diasporic communities, fertile natural ecosystems, and a politically rigorous ethic toward the survival of each. Before You Go as a pairing presents two perspectives on the passage of time as illustrated by water and industry.
Curated by Ashley Stull Meyers
Ashely Stull Meyers is a curator and writer based in Portland, Oregon. She has curated exhibitions in California, Washington, and Oregon and served as the director and curator of the Art Gym and Belluschi Pavilion at Marylhurst University in Oregon. In 2019, Meyers will co-curate the Portland Biennial, an exhibition showcasing Portland-based artists. In addition to her curatorial endeavors, she is also an accomplished writer, with work published in several notable art publications, and holds an editorial position on Art Practical. Meyers currently serves as an adjunct professor in the Master of Fine Arts program at Sierra Nevada College.
FROM THE ARCHIVE
Ithaca Video Corp.
From Behind These Bars, not dated
Digital video transfer from ½-inch tape, 30 minutes
Everson Museum of Art; 90.87
May-June, Omaha, NE
May's Video in America was curated by Rachel Adams, Chief Curator and Director of Programs at Bemis Center for Contemporary Arts in Omaha, Nebraska.
Mitchell Squire, Cleansing myself of narratives that might otherwise be invisible, 2018,
Video; 2:33 minutes
Courtesy of the artist
Mitchell Squire is an artist and educator whose practice engages material culture, architecture, and visual art. He is known for creating deeply cerebral work that explores a broad spectrum of American culture through collecting and archiving artifacts. Using a combination of found and salvaged objects, his collections, assemblages, sculptures, and performances offer complex socio-political associations and elegiac narratives that underline particularly potent historic events and institutional practices that quietly and continually influence the national dialogue.
Ella Weber, Clean Hands, 2018
Video; 2:50 minutes
Courtesy of the artist
“By reverting back to a childlike innocence of carefree happiness, I immerse myself in our sentimental culture while bathing in rainbow sprinkles. Simultaneously, I desire to cleanse myself from such artificiality. I continue to search for my identity as I inevitably drown myself in my own image of femininity, guilt, and self-worship within the present. While searching for contentment and fulfillment, I am left empty and stained as I reflect upon the unsubstantial value of an idealistic image. Too much sugar makes one sick.” – Ella Weber
FROM THE ARCHIVES
Skip Blumberg, American (b. 1946)Summer Ski Jumping, The Roller Skiing Report, 1979
Digital video transferred from ½” tape
Everson Museum of Art; 90.212.2
Henry Gernhardt, American (b. 1933)
Clay is a Very Heavy Substance, 1977
Digital video transferred from ½” tape
Everson Museum of Art; 90.66.1
April, Cleveland, OH
Video In America: the cold mornings edge of the old viaduct
Curated by Christina Vassallo, SPACES Executive + Artistic Director
Cameron Granger, This Must Be The Place, 2019, Video, 00:04:32
An award winning filmmaker and video artist currently based in Columbus, OH, Cameron Granger’s recent work revolves around notions of blackness as they relate to the American Dream, as well as representation in film and media. He is a founding member of MINT—a Columbus-based art collective and project/gallery space—and a 2019 resident artist at Bemis Center for Contemporary Arts, and a 2017 resident artist at the Skowhegan School of Painting & Sculpture.
Kelley O’Brien, in collaboration with Marcus Brathwaite (sound design) and Rachel Dewey (narration), We too, traverse the earth, 2019, Video, 00:11:11
Rachel Yurkovich, Black Friday 2014, 2014, Video, 00:17:58
FROM THE ARCHIVES
Ira Schneider American (b. New York, 1939)
Greatest Hits of the Eighties?, Fourth of July in Saugerties, The boring years., 1972/ 2-1974 b/w, sound, U-matic, 30 min. format, 30 min., Everson Museum of Art, 90.102.2
Joan Jonas, American (b. New York City, NY, 1936)
I Want to Live in the Country and Other Romances, 1979
color, 3/4' cassette with sound, 24:06min., Everson Museum of Art, 90.92
March, Atlanta, GA
The March selection of Video in America is an overdue pairing of two old friends: JD Walsh and Sarah Hornbacher. Walsh moved to Atlanta at age twenty-two to teach at the Atlanta College of Art. The chair of the video departmentat the time was Hornbacher, a boundary-buster in the realm of site-specific, environmental video installations. Years earlier, when Hornbacher was a student at the Center for Media Studyat the State University of New York Buffalo, she studied with many of the first pioneers in video art: Paul Sharits, Woody Vasulka, Gerald O’Grady, Hollis Frampton, and Tony Conrad. For many years the avant-gardevideo community was active in Central and Upstate New York. Hornbacher first visited the Experimental Television Center located in Owego, New York in 1976 and she returned frequently until the center closed in 2011.
Hornbacher uses forever evolving machines to explore her deep fascination with light and surface. She manipulates found and filmed footage to tease our conventions of time and space. Walsh also keeps us between moments when we stop existing in reality and when fantasy begins. Untitled RPG, utilizes the language of game-theory, especially Role-Playing Games (RPGs). The work brings together a moving picture within a moving picture, stitching seemingly mundane genuine moments at the beach or having picnic on the grass, birds balancing atop a tree or the m1 bus arriving at the Kmart Pharmacy in NoHo.
Daniel Fuller is the curator at Atlanta Contemporary, a position he has held since December 2014. Prior to this he was the Director of the Institute of Contemporary Art (ICA) at Maine College of Art. He has curated exhibitions at ice fishing shacks, a swap meet, the JumboTron of a minor-league hockey stadium, on public access television, and in several closets. Fuller received his MA in Museum Studies from Syracuse University. He has written for 032c, Art in America, Afterall, Art Asia Pacific, Art Papers, Frieze, and numerous artist catalogs. A book of essays titled This is not here was published in 2018 with Publication Studio. He has previous curatorial experience with the Pew Center for Arts and Heritage in Philadelphia and Hudson Valley Center for Contemporary Art in Peekskill, NY. Fuller was born and raised in Syracuse.
Digital Media Artist, Concept and Realization
Numerical Studies Series, 1977, black & white, silent, 5 min, courtesy of the artist
Numerical Studies Series, 2014 -2019, black & white, stereo, 17 min, courtesy of the artist
Sara Hornbacher is a pioneer of video art and digital imaging. After receiving an undergraduate degree in Fine Art, she completed a Master’s degree at SUNY Buffalo in 1978, where she studied video with the Vasulkas, Paul Sharits, and Tony Conrad at the Center for Media Study. Hornbacher was guest editor of the first CAA ART JOURNAL issue on Video in 1985. She completed her first residency at the Experimental TV Center in 1976 and her annual residencies at ETC continued through 2011. Her annual Signal Culture residencies began in 2014 and continued annually through 2018. The artist’s single-channel video works and multi-media installations have been exhibited throughout the United States, Europe, Australia, and Japan. In 2012, she became a Legacy Artist at The Burchfield Penney Art Center in Buffalo, NY and her video work is being archived at the Rose Goldsen Archive at Cornell University in Ithaca, NY.
Untitled RPG, 2008, digital video, 7:36 min, courtesy of the artist
JD Walsh is a multimedia artist. He has exhibited at galleries internationally including Halsey McKay, Cleopatra’s, 106 Green, Brennan & Griffin, and Nicole Klagsbrun in New York, Atlanta Contemporary, Galerie Steinek in Vienna, and Cooper Cole in Toronto. In 2012 his public art installation Ensemble for Mixed Use was commissioned by the City of Toronto for the 2012 Nuit Blanche festival. His work has been written about in Artforum,Flash Art, and Sculpture Magazine, among others. His ongoing music project Shy Layers has garnered critical acclaim and was listed as one of the top twenty electronic albums of 2016 by Pitchfork.
FROM THE ARCHIVES
Digital video transfer from 1/2" open reel
Everson Museum of Art, 90.154.7
Bill and Louise Etra
Narcissicon; Ms. Muffet; Abstraction on a Bedsheet; Mask/Face: Inside Out/Lady of the Lake; Evolution to Tree; Mechanical Man, 1975
Digital video transfer from 3/4" U-Matic, Everson Museum of Art, 90.55
January-February, Syracuse, NY
I'm an insect but I love you like a mammal, 2018
Tom Sherman is best known for his video art addressing relationships between humanity and machines. Many of his works incorporate text and explore nature, death, human-machine relationships, and modes of communication. I am an Insect, but I love you like a mammal centers on a police camera located at 900 Ackerman Avenue in Syracuse to explore the mixed emotions people feel about security cameras. Sherman’s footage exposes the police camera, invading its privacy in a manner similar to how the camera invades the privacy of its subjects. Subtext narrates the film, questioning whether there is anyone actually monitoring the video footage or if the camera functions as a scarecrow, simply changing the neighborhood’s perception of safety while having little impact on the actual situation.
Referred Pain, 2019
Interested in the ways western medicine acknowledges and attempts to alleviate physical and emotional pain, Rachel Fein-Smolinski draws inspiration from narrative fiction with supernatural elements and intuitive details of medical history. Referred Pain is a meditation on empathy and questions what it means to be a woman in pain. In her videos, Fein-Smolinski performs as an alter ego that stems from her upbringing as a Jewish woman in a religion that, according to the artist, idealizes intellect to the point of fetishization. Her use of the word “referred” in the title of this video references a medical referral, the process of transferring something from one person to another, and as another word to think about empathy.
The video begins with the camera focused on moths trapped in a moth catcher while a voice asks, “Do you think there are moth power dynamics?” immediately questioning the hierarchies that exist within and between particular species. Weaving together images of Daphnia Magna (spineless planktonic crustaceans with huge hearts, that can reproduce sexually or asexually), footage of a young man pole dancing, medical animations of her spinal cord, and a tender scene of a woman apologizing to a dead bird as she sweeps it up and places in a trash can, Referred Pain points to the difficulty we have relating to other people’s experience of pain. This is an opportunity to discuss the loneliness and isolation that accompany our experience of pain, the difficulties associated with pain, and what it means to be cared for.
FROM THE ARCHIVES
Digital transfer from b/w 3/4' cassette, 28 min., Everson Museum of Art 90.51.5
Antoni Muntadas (b. 1942)
Digital transfer from b/w 3/4' cassette, 24 min, Everson Museum of Art, 90.125
May 23, 6:00pm
Free with Museum admission
1803 Miles tells the story of artist Juan Cruz and explores themes of Puerto Rican migration and identities.
Begins July 25, 7:30pm
Bring your blankets, lawn chairs, and snacks and enjoy movies projected onto the Museum's facade. Stop by the Plaza before the film for art-making, dancing, food, and more.