UvA-DARE (Digital Academic Repository) Scripting Artworks: Studying the Socialization of Editioned Video and Film Installations Noël de Tilly, A. Link to publication Citation for published version (APA): Noël de Tilly, A. (2011). Scripting Artworks: Studying the Socialization of Editioned Video and Film Installations General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: http://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (http://dare.uva.nl) Download date: 09 May 2018
Images
Images of Chapter 1 Figure 1.1 Andy Warhol, Outer and Inner Space (1965) Installation view, Beyond Cinema: The Art of Projection Hamburger Bahnhof, Berlin, 29 September 2006 25 February 2007 Figure 1.2 Peter Bogers, Heaven (1995) Installation view Festival aan de Werf, Utrecht, 1995 Source: http://www.peterbogers.com Figure 1.3 Peter Bogers, Heaven Installation view, The Living Huize Frankendael (exhibition organized by the Stedelijk Museum), Amsterdam, 24 October 1 November 2009 Source: http://www.peterbogers.com 201
Figure 1.4 Anthony McCall, Line Describing a Cone (1973) Installation view, Into the Light: The Projected Image in American Art 1964-1977 Whitney Museum of American Art, New York, 18 October 2001 6 January 2002 Source: http://www.anthonymccall.com/pg1.html Photograph: Henry Graber Figure 1.5 Anthony McCall, Long Film for Ambient Light (1974) Installation view Idea Warehouse, New York, 18-19 June 1975 Source: http://reproach.wordpress.com/2007/06/26/anthony-mc-call/ 202
Figure 1.6 Peter Campus, Shadow Projection (1974) Installation view Source: http://visualarts.walkerart.org/detail.wac?id=5374&title=past%20exhibitions&style=images Figure 1.7 Pipilotti Rist, Ever is Over All (1996) Installation view, Beyond Cinema: The Art of Projection Hamburger Bahnhof, Berlin, 29 September 2006 25 February 2007 203
Images of Chapter 3 Figure 3.1 Douglas Gordon, Play Dead; Real Time (2003) Gagosian Gallery, New York, 22 February 29 March 2003 Courtesy of the artist Photograph: Robert McKeever Figure 3.2 Douglas Gordon, 24 Hour Psycho (1993) Source: http://www.nationalgalleries.org/whatson/exhibition/5:368/4366/4418 205
Figure 3.3 Douglas Gordon, 10ms -1 (1994) Installation view, Douglas Gordon: blood, sweat, tears DOX, Prague, 4 June 27 September 2009 Figure 3.4 Douglas Gordon, Play Dead; Real Time (2003) Installation view National Gallery of Canada, Ottawa, 20 May 2003 26 April 2004 Courtesy of the artist and the National Gallery of Canada 206
Figure 3.5 Douglas Gordon, Play Dead; Real Time (2003) Installation view, Douglas Gordon: Between Darkness and Light. Werke 1989 2007 Kunstmuseum Wolfsburg, 20 April 12 August 2007 Courtesy of the artist Photograph: Bert Ross Figures 3.6 and 3.7 Douglas Gordon, Play Dead; Real Time Installation views, Douglas Gordon Galerie de l UQAM (Mois de la Photo), Montréal, 7 September 6 October 2007 Courtesy of the artist Photographs: Bert Ross 207
Figure 3.8 Douglas Gordon, Play Dead; Real Time Installation view, Douglas Gordon: blood, sweat, tears DOX, Prague, 4 June 27 September 2009 Figure 3.9 Douglas Gordon, Play Dead; Real Time (2003) Installation view, Douglas Gordon. prettymucheverywordwritten, spoken, heard, overheard from 1989 Museo di Arte Moderna e Contemporanea di Trento e Rovereto, 7 October 2006 21 January 2007 Courtesy of the artist 208
Figure 3.10 Douglas Gordon, Pretty Much Every Film and Video Work From 1992 Until Now To be Seen on Monitors, Some with Headphones, Others Run Silently, and all Simultaneously (1992 ongoing) Installation view, Douglas Gordon: blood, sweat, tears DOX, Prague, 4 June 27 September 2009 Figure 3.11 Douglas Gordon, Pretty Much Every Film and Video Work From 1992 Until Now To be Seen on Monitors, Some with Headphones, Others Run Silently, and all Simultaneously (1992 ongoing) Installation view, Douglas Gordon: Between Darkness and Light. Werke 1989-2007 Kunstmuseum Wolfsburg, 20 April 12 August 2007 Photograph: Arnoud Noordegraaf 209
Figure 3.12 Douglas Gordon, Pretty Much Every Film and Video Work From 1992 Until Now To be Seen on Monitors, Some with Headphones, Others Run Silently, and all Simultaneously (1992 ongoing), detail Installation view, Douglas Gordon: blood, sweat, tears DOX, Prague, 4 June 27 September 2009 Figure 3.13 Douglas Gordon, Pretty Much Every Film and Video Work From 1992 Until Now To be Seen on Monitors, Some with Headphones, Others Run Silently, and all Simultaneously (1992 ongoing), detail Installation view, Douglas Gordon: blood, sweat, tears DOX, Prague, 4 June 27 September 2009 210
Figure 3.14 Douglas Gordon, Play Dead; Real Time (2003) and Pretty Much Every Film and Video Work From 1992 Until Now To be Seen on Monitors, Some with Headphones, Others Run Silently, and all Simultaneously (1992 ongoing) Installation view, Douglas Gordon. prettymucheverywordwritten, spoken, heard, overheard from 1989 Museo di Arte Moderna e Contemporanea di Trento e Rovereto, 7 October 2006 21 January 2007 Courtesy of the artist Figure 3.15 Douglas Gordon, I am aware of who you are & what you do. Installation view, Douglas Gordon: blood, sweat, tears DOX, Prague, 4 June 27 September 2009 Figure 3.16 Douglas Gordon, From the moment you hear these words, until you kiss someone with green eyes. Installation view, Douglas Gordon: blood, sweat, tears DOX, Prague, 4 June 27 September 2009 211
Images of Chapter 4 Figure 4.1 Carl Andre, Equivalents I-VIII (1966) Installation view Tibor de Nagy Gallery, New York, 1966 Source: Martha Buskirk, The Contingent Object of Contemporary Art (Cambridge, The MIT Press, 2003), 29. Figure 4.2 Mike Kelley, Craft Morphology Flow Chart (1991) Installation view, Carnegie International 1991 The Carnegie Museum of Art, Pittsburgh, 19 October 1991 16 February 1992 Source: http://soloosos.wordpress.com/2008/08/ 213
Figure 4.3 Mike Kelley, Educational Complex (1995) Installation view Source: http://www.wiels.org/site2/event.php?event_id=17 Figure 4.4 Figure 4.5 Figure 4.6 Figure 4.7 Figures 4.4-4.7 Mike Kelley, Extracurricular Activity Projective Reconstruction #1 (A Domestic Scene) (2000) Installations views, Mike Kelley Galleria Emi Fontana, Milan, 5 June 11 November 2007 Source: http://www.galleriaemifontana.com/exhibitions/44 214
Figure 4.8 Found photograph that inspired Mike Kelley s Extracurricular Activity Projective Reconstruction # 1 (A Domestic Scene) Source: http://www.galleriaemifontana.com/exhibitions/44 Figure 4.9 Mike Kelley, Extracurricular Activity Projective Reconstruction #1 (A Domestic Scene) (2000) Installation view, Mike Kelley: Educational Complex Onwards 1995-2008 Wiels, Brussels, 12 April 27 July 2008 215
Figure 4.10 Mike Kelley, Day Is Done (2005) Installation view, Mike Kelley: Day Is Done Gagosian Gallery, New York, 11 November 17 December 2005 Source: http://www.gagosian.com/exhibitions/24th-street-2005-11-mike-kelley/ Figure 4.11 Mike Kelley, Switching Marys (2005) Installation view, Below the Surface Stedelijk Museum, Amsterdam, 22 December 2006 22 February 2007 Source: Stedelijk Museum N.B. The photograph above does not match the description of the Switching Marys done in the section 4.3 of Chapter Four. The photograph was taken when the projections on the oval screens were not properly synchronized. On one of the two screens, Mary should be seen with her arms up (see Figure 4.12). 216
Figure 4.12 Mike Kelley, Switching Marys (2005) Installation view, Mike Kelley: Day Is Done Gagosian Gallery, New York, 11 November 17 December 2005 Source: Gagosian Gallery Figure 4.13 Mike Kelley, Woods Group (2005) Installation view, Mike Kelley: Educational Complex Onwards: 1995-2008 Wiels, Brussels, 12 April 27 July 2008 217
Figure 4.14 Mike Kelley, Lonely Vampire (2005) Installation view, Mike Kelley: Educational Complex Onwards: 1995-2008 Wiels, Brussels, 12 April 27 July 2008 Figure 4.15 Mike Kelley, Joseph Supplicates (2005) Installation view, Mike Kelley: Educational Complex Onwards: 1995-2008 Wiels, Brussels, 12 April 27 July 2008 218
Figure 4.16 Mike Kelley, Joseph Supplicates and Lonely Vampire (2005) Installation view, Mike Kelley Goetz Collection, Munich, 1 December 2008 25 April 2009 Source: Goetz Collection Photograph: Nic Tenwiggenhorn Figure 4.17 Mike Kelley, Woods Group (2005) Exhibition view, Mike Kelley Goetz Collection, Munich, 1 December 2008 25 April 2009 Source: Goetz Collection Photograph: Nic Tenwiggenhorn 219
Images of Chapter 5 Figure 5.1 John Massey, The Embodiment (1976) iron, cloth, wax, wood, lights, 2.44 x 4.72 x 3.05 m Installation view, 720 King St. West, Toronto, 1976 Photograph: Robert Johnston Source: http://cybermuse.gallery.ca/cybermuse/search/artwork_zoom_e.jsp?mkey=14508 Figure 5.2 Floor plan of the installation of As the Hammer Strikes (A Partial Illustration) Exhibition OKanada, Akademie der Künste, Berlin, 5 December 1982 30 January 1983 Source: File 1227-02 of the exhibition OKanada in the archives of the Akademie der Künste, Berlin. [Archives consulted on 25 March 2011.] 221
Figure 5.3 Synchronization system built in 1982 for the presentation of As the Hammer Strikes (A Partial Illustration) Figure 5.4 As the Hammer Strikes (A Partial Illustration), 1982 Presented as a three-channel video installation (3 laser disks transferred from 3 16 mm films, one color, 2 b/w) Installation view, John Massey Art Gallery of Hamilton, 12 February 24 April 1994 Courtesy of the artist 222
Figure 5.5 John Massey. As the Hammer Strikes (A Partial Illustration), 1982 Installation view, Canadian Stories Ydessa Hendeles Art Foundation, Toronto, 14 October 2000 30 June 2003 Presented as a three-channel video installation (3 laser disks transferred from 3 16 mm films, one color, 2 b/w) Courtesy of the artist Figure 5.6 As the Hammer Strikes (A Partial Illustration) Installation view, Beyond Cinema: The Art of Projection Hamburger Bahnhof, Berlin, 29 September 2006 25 February 2007 Figure 5.7 As the Hammer Strikes (A Partial Illustration) Installation view, Elastic Frames Transmission, Glasgow, 8 February 5 March 2011 Source: Transmission 223