top of page
FROM THE BLAKE BYRNE COLLECTION VIDEO ART COLLECTION
Mae West, 2004, video is related to the monumentally scaled sculpture McBride was commissioned to create for the Effnerplatz in Munich. The video artwork, which is both visually and conceptually associated with the sculpture, is part-futuristic and part-vintage in both its imagery and vibe. The video, which is accompanied by a continuous, mellow, techno-inspired soundtrack, begins by moving through a simplified, black and white version of Munich to the Effnerplatz. The view begins to spin in and around the tube base at a rapid pace; at around 17 seconds, the view shifts to that of bright red and orange swirling dancers’ skirts. The video shifts back to the sculpture and begins to intersperse these architectural, movement-based scenes of the sculpture with various videos of dancing women and men. The movements of the dancers and their clothing mimic the movement in and around the sculpture’s base, with one scene imitating the movement of both the previous scene and the following one to create a visually stimulating continuity. A scene of dancing around a Maypole materializes, then Bavarian-style dancers holding upside down V-shaped boughs appear to recreate the shape of the sculptural base. Scenes of traffic moving around a crowded traffic circle (possibly a reference to the circular shape of Effnerplatz) materialize, as do general traffic scenes shown from the perspective of pedestrians. These moving images continue to be juxtaposed by moving images in and around the Mae West sculpture, creating visual connections at all times. Scenes of dancers are reintroduced, and the video continues on a loop. This video artwork attests to McBride’s interest in image and object manipulation, material experimentation, and conceptual juxtapositions. The namesake artwork is the 170-foot tall hyperboloid-shaped sculpture composed of carbon fiber reinforced polymer tubing that was commissioned for the Effnerplatz in Munich, Germany as part of the Mittlerer Ost ring tunnel construction project, and which miraculously allows for a municipal tram to run through it. (1) The architecturally scaled sculpture was designed by McBride, planned between 2003 and 2010, and constructed from 2010-2011 with the engineering assistance of Werner Sobek.(2) Supposedly named for American actress and temptress Mae West in honor of her famed hourglass figure, the sculpture has also been the subject of many a spotlight. (3) In a 2018 interview with Mousse Magazine, the artist said, “With the Mae West public project in Munich, I wanted to challenge assumed dimensions of public sculpture. I chose the shape simply because it is one of the most stable structures approved for building towers. I didn’t want to lose time in engineering, nor offer an already-resistant group of city planners any arguments to block the project. Carbon tubes, which I had seen in the sports world, seemed like a good option. I was particularly excited that nothing like this had ever been built and that the structure itself, let’s say, performed the surface, like an exoskeleton. This is rather rare in the making of sculpture. With lasers, gravity and engineering are no longer a problem.” (4) Rita McBride MAE WEST, Proposal for Effnerplatz, Munich, Germany Duration: DVD 4:05 min CD: 4:02 Edition: 9/45 +15AP Archival: DVD Exhibition copy: mp4 digital file Signed Certificate of Authenticity Provenance: Annemarie Verna Galerie __________________________________________ 1.Unknown author, “Mae West: Pipe Dream in Munich,” Composites World, March 1, 2011, https://www.compositesworld.com/articles/mae-west-pipe-dream-in-munich (accessed November 21, 2020). 2.Werner Sobek, “Completed Projects: Mae West”, https://www.wernersobek.de/en/projects/status/completed/mae-west/ (accessed November 21, 2020). 3.Unknown author, “Mae West: Pipe Dream in Munich,” Composites World, March 1, 2011, https://www.compositesworld.com/articles/mae-west-pipe-dream-in-munich Commission and exhibition information from Rita McBride Artist Website: http://www.ritamcbride.net/Rita_McBride_CV.pdf
Projection is a film by Laurent Grasso, 2003-2005, that shows a dense cloud moving rapidly through the mostly deserted streets of Paris. Presented from the perspective of being just in front of the moving cloud, and accompanied only by a low, ambient, rumbling sound, the video is ominous, exciting, and causes viewers to question what they are seeing. Grasso’s interest in perception and naturally occurring phenomena are evident in this video, which is a particularly visually interesting example of his work. The video invites close watching; when paying attention, viewers may realize that over the course of the video, the cloud has moved in a circular fashion throughout the narrow, Parisian streets. The cyclical nature of this work, the relationship between beginning and end, is central to Grasso’s oeuvre. Laurent Grass Projection Duration: Edition: 3/4 + 1AP Archival: DVD Exhibition copy: mp4 digital file Signed Certificate of Authenticity Provenance: Galerie Chez Valentin Laurent Grasso (b. 1972, France) is fascinated by the science of electromagnetic energy, radio waves, naturally occurring phenomena, and paranormal activity, and his work offers visual explorations of these themes. “Incorporating imagery culled from the cinema and art history, Grasso works in video, sculpture, painting, and drawing, to recreate phenomena – both human and natural – that set up surreal and ambiguous juxtapositions of time and space. “Grasso often intentionally manipulates imagery by imposing unique and unusual perspectives onto his subject matter, thereby subverting viewer’s instincts to accept what they see at face value. A continually shifting viewpoint is at the heart of Grasso's aesthetic sensibility – in Grasso's words, ‘the idea is to construct a floating viewpoint, thereby creating a discrepancy in relation to reality. We move from one viewpoint to another, and that's also how we manufacture states of consciousness.’” The artist creates mysterious atmospheres that challenge the boundaries of what we perceive and know. Anachronism and hybridity play an active role in his strategy, which entails diffracting reality in order to recompose it according to his own rules. Fascinated by the way in which various powers can affect human conscience, Grasso seeks to grasp, reveal, and materialize the invisible, from collective fears to politics to electromagnetic or paranormal phenomena. His meditative, ambient video works in particular raise questions about perception, consciousness, reality, and natural and supernatural forces and events. Laurent Grasso lives and works in Paris, France. He is represented by Sean Kelly Gallery and Galerie Perrotin. __________ (1) Laurent Grasso, quoted in “Laurent Grasso Biography,” Sean Kelly Gallery, http://origin.www.skny.com/artists/laurent-grasso (accessed October 8, 2020).
Jennifer Steinkamp’s “Jimmy Carter” was one of Blake’s most beloved artworks in his collection. It was projected on a wall in the atrium around his pool. Edition: Unique Archival: hard drive computer, flash drive Signed Certificate of Authenticity Provenance: Acme Gallery, Los Angeles For Jennifer, “Jimmy Carter”, 2002 marked a significant moment in the development in her oeuvre when she moved from abstraction to more representational imagery. “Jimmy Carter” is a site-specific video installation that fills large walls of the gallery; thousands of computer synthesized flowers swing back and forth. The flowers create an illusion where space seems to dematerialize. It feels as though the walls are moving along with the flowers. The piece was made as my response to 9/11/2001. At the time I found it very difficult to make any statements against the war in response to 911 without being considered an anti-patriotic terrorist. I decided to defend my patriotism and create a statement of peace by naming the art after an American president. I named this piece "Jimmy Carter" in honor of a man I respect very much. He is an incredible, selfless, and generous leader. It is unbelievable to me that the United States political system was able to choose this amazing person to lead the country. At the same time Carter was receiving the Nobel Peace Prize "for his decades of untiring effort to find peaceful solutions to international conflicts, to advance democracy and human rights, and to promote economic and social development". Jennifer Steinkamp https://jsteinkamp.com/html/body_jimmy_carter.htm
Rembrandt Harmenszoon van Rijn: 81 Self Portraits, 2003 In under 60 seconds, Picard presents a seamless montage of 81 self-portraits by famed artist Rembrandt van Rijn. One portrait morphs into the next, causing the viewer to make quick, sometimes subconscious, visual connections. Duration: 14:51 mins Archival: DVD-R Exhibition copy: mp4 digital file Signed Provenance: Richard Heller Gallery __________ Dane Picard is an American artist and filmmaker who began making video artworks in the late 1990s. Quickly gaining acclaim for his work, in 1999, he participated in several national and international film festivals, becoming a 1999/2000 Short Film Grant Finalist from Aperture. Picard continued to exhibit work internationally, participate in film festivals around the world, and win awards for his accomplishments with film
Les Oiseaux, 2008 features a flock of starlings moving against the beautiful, dusk-pink sky of the Vatican in Rome. Les Oiseaux is one of Laurent Grasso’s most well-known video works. True to its name, Les Oiseaux features a flock of starlings moving against the beautiful, dusk-pink sky of the Vatican in Rome. Like many of his other videos, Les Oiseaux features an ambient soundtrack, devoid of any defined sound. The effervescent flock diverges and reconvenes in an amorphous, changing murmur, creating organic, graphic shapes and moving much faster in the film than would occur in real life. Most of the flock appears far from camera, but occasional portions swoop into a much closer viewing range, further enlivening the viewing experience. This play on perception and natural phenomena is an inherent part of Grasso’s practice and recurs in a broadly thematic way throughout much of his film work. Reviews of this film liken the migratory bird patterns to particles in a magnetic wave field – a similarity surely implied by the artist. Laurent Grass Les Oiseaux Duration: 6:30 min Edition: 3/4 + 1AP Archival: DVD Exhibition copy: mp4 digital file Signed Certificate of Authenticity Provenance: Galerie Chez Valentin Laurent Grasso (b. 1972, France) is fascinated by the science of electromagnetic energy, radio waves, naturally occurring phenomena, and paranormal activity, and his work offers visual explorations of these themes. “Incorporating imagery culled from the cinema and art history, Grasso works in video, sculpture, painting, and drawing, to recreate phenomena – both human and natural – that set up surreal and ambiguous juxtapositions of time and space. “Grasso often intentionally manipulates imagery by imposing unique and unusual perspectives onto his subject matter, thereby subverting viewer’s instincts to accept what they see at face value. A continually shifting viewpoint is at the heart of Grasso's aesthetic sensibility – in Grasso's words, ‘the idea is to construct a floating viewpoint, thereby creating a discrepancy in relation to reality. We move from one viewpoint to another, and that's also how we manufacture states of consciousness.’” The artist creates mysterious atmospheres that challenge the boundaries of what we perceive and know. Anachronism and hybridity play an active role in his strategy, which entails diffracting reality in order to recompose it according to his own rules. Fascinated by the way in which various powers can affect human conscience, Grasso seeks to grasp, reveal, and materialize the invisible, from collective fears to politics to electromagnetic or paranormal phenomena. His meditative, ambient video works in particular raise questions about perception, consciousness, reality, and natural and supernatural forces and events. Laurent Grasso lives and works in Paris, France. He is represented by Sean Kelly Gallery and Galerie Perrotin.
The film, The Books of Ed Ruscha (1968-69/2012), which was never released, is represented only by a signed artists' proof of a DVD-R of the film in a specially designed package. It was published, but never distributed, by Los Angeles County Museum of Art in 2012.The film features Mason Williams, a friend and collaborator of Ruscha, looking through several of Ruscha's artists' books. A voice-over of Williams reading the text plays over the film. Books of Ed Ruscha,1969, (2012) Duration: 23:17 min Edition: AP Archival: DVD Exhibition copy: mp4 digital file DVD with booklet in a presentation box, signed by Ed Ruscha Provenance: Los Angeles Art Association NFS __________ Edward Ruscha was born in Omaha, Nebraska, in 1937, and grew up in Oklahoma City. In 1956, upon graduating from high school, he moved to Los Angeles with the goal of becoming a commercial artist and enrolled at the Chouinard Art Institute – now the California Institute of the Arts – studying there until 1960. Ruscha made L.A. his home, and he continues to live and maintain a studio there. Los Angeles proved to be a bevy of source material for a young artist interested in graphic design, advertising, and developing new styles, and Ruscha’s work transcends any particular artistic movement’s boundaries, taking up residence somewhere between pop art, conceptual art, and design. Through humor, irony, and a straightforward style with a bold color palette and stenciled letters and words, his work comments on ideas of commercialism, consumerism, and romanticism. Single words, short phrases, and familiar objects, landscapes, and scenes are presented in a graphically simple format, which encourages attention and even confrontation from viewers. Ruscha also did not rely only on traditional materials for the creation of his artworks; instead, he used such experimental and nontraditional materials as gunpowder, juices from produce, blood, and grass, as sources for pigments. His artistic practice has grown to include painting, drawing, photography, printmaking, graphic arts, artist bookmaking, and holography. In art school, finding inspiration from his discovery of an earlier generation of artists’ use of readymade objects, Ruscha became interested in using text within his artwork. He made his first word painting in 1959, which displayed his name, “E. Ruscha” in a spatially asymmetrical manner. A few years later, he created OOF, a well-known yellow and blue painting of the titular word, “oof”, done in 1962-1963. Also in 1963, one of the artist’s early book projects, entitled Twentysix Gasoline Stations, presents viewers with simple, black and white photographs of different gas stations along the route between L.A. and Oklahoma City. The photographs are captioned with the names of the gas stations and their locations. This artist book was the first that Ruscha published, which he followed with other well-known books, such as Every Building on the Sunset Strip, which similarly presents, in a black and white format, a photograph of every building on the Sunset Strip of Los Angeles. The photographs are presented in a 25-foot long accordion-style artist book, and this work became one of the most well-known by Ruscha. He made a total of 16 artist books in the 1960s and 1970s, and has continuously incorporated books in many manners, into his work ever since. In addition to debuting his artist books, 1963 was also the year that Ruscha had one of his first important solo exhibitions, which took place at the Ferus Gallery in L.A. The Ferus Gallery was a contemporary art gallery that was open from 1958 until 1966, and featured many L.A.-based artists such as Ruscha, Edward Kienholz (who had been one of the gallery’s founders), Ken Price, Ed Moses, Billy Al Bengston, Larry Bell, and Craig Kauffman, among others. Other major solo exhibitions included shows at the Institute of Contemporary Arts, London, in 1976; San Francisco __________ 1. Gagosian Gallery, “Ed Ruscha: About”, Gagosian Gallery, https://gagosian.com/artists/ed-ruscha/ (accessed August 29, 2019). 2. Solomon R. Guggenheim Museum, “Ed Ruscha”, Solomon R. Guggenheim Museum, https://www.guggenheim.org/artwork/artist/ed-ruscha (accessed August 29, 2019). 3. The J. Paul Getty Museum, “Ferus Gallery, Pacific Standard Time at the Getty Center”, Getty Museum, https://blogs.getty.edu/pacificstandardtime/explore-the-era/locations/ferus-gallery-2/ (accessed August 29, 2019).
Violent Incident, 1986. “Violent Incident begins with what is supposed to be a joke—but it’s a mean joke. A chair is pulled out from under someone who is starting to sit down. It intentionally embarrasses someone and triggers the action. But let me describe how it got into its present form. I started with a scenario, a sequence of events which was this: Two people come to a table that’s set for dinner with plates, cocktails, flowers. The man holds the woman’s chair for her as she sits down. But as she sits down, he pulls the chair out from under her and she falls on the floor. He turns around to pick up the chair, and as he bends over, she’s standing up, and she gooses him. He turns around and yells at her—calls her names. She grabs the cocktail glass and throws the drink in his face. He slaps her, she knees him in the groin and, as he’s doubling over, he grabs a knife from the table. They struggle and both of them end up on the floor. Now this action takes all of about eighteen seconds. But then it’s repeated three more times: the man and woman exchange roles, then the scene is played by two men and then by two women. The images are aggressive, the characters are physically aggressive, the language is abusive. The scripting, having the characters act out these roles and the repetition all build on that aggressive tension.”(2) Violent Incident was the first video made by Nauman after taking a hiatus from video work throughout the 1970s and early 1980s. It was also the first video in which Nauman utilized professional actors as the subjects, rather than himself; notably, he also used sound and color in Violent Incident. The premise of this work is similar to many of Nauman’s other videos – it forces viewers to endure an event – this time, the witnessing of a violent interaction, over and over again. The replacement of the gendered characters within the installation of the video loop functions to make the work all-inclusive for the viewership. 1. Joan Simon, quoted in “Breaking the Silence: An Interview with Bruce Nauman,” Art in America, September 1, 1988, https://www.artnews.com/art-in-america/features/breaking-silence-interview-bruce-nauman-63570/ (accessed October 8, 2020). 2.Bruce Nauman, quoted in Ibid. __________ Violent Incident - Man/Woman Segment (Parkett Deluxe Edition No. 10) Duration: 30:00 min Edition: 132/200 Archival: VHS cassette Exhibition copy: mp4 digital file Signed Provenance: Parkett Editions Bruce Nauman (b. 1941, Fort Wayne, IN; lives and works in New Mexico) is one of the most preeminent conceptual video, sound, installation, and neon artists working today. Nauman’s influence on contemporary art is immeasurable; younger generations of artists have founded their practices upon concepts first explored and tested by Nauman beginning in the early 1960s. It is difficult to suggest a common, central theme shared by his entire body of work, but “Nauman does circle around a fundamental problem: the experience, in one’s environment, architecture, language or body, of being controlled. He subjects himself, his artistic collaborators and his viewers to disturbing experiments in surveillance; he makes us participants in art that is hectoring, aggressive, buttonholing and violent, and fills us with a sense of complicity.” His video, sound, text-based, and installation works featuring such subjects as the artist himself bouncing a ball within a square outline on the studio floor or walking through a narrow corridor while assuming the contrapposto form, a rat-filled maze, a date gone violently wrong, a humiliated mime, or an abject clown, force the viewers to insert themselves into the work, inducing strong, visceral reactions. “In its exploration of control, discipline and torture, and a linguistic world riddled with pat phrases and evacuated of all meaning, the experience his work induces can be awful, nauseating, horrifying.” Nauman leaves it up to his viewers to decide their tolerance levels for the abject; this forced self-reflection causes us to “Pay Attention” – which is, fittingly, the title of one of his early 1970s lithographs and one of his artistic goals. Nauman’s work has been the subject of several major retrospectives since the 1970s: a 1994 retrospective traveled from the Museum of Contemporary Art in Los Angeles to the Hirshhorn Museum and Sculpture Garden in Washington, D.C., and in 1995, the Museum of Modern Art in New York hosted another major exhibition. More recently, the same Museum of Modern Art, along with MoMA P.S.1 and Schaulauger, organized a retrospective in late 2018 which was on view until early 2019. Currently on view at the Tate Modern in London, from October 7, 2021 – February 21, 2021, is the first European Nauman retrospective in over 20 years. https://www.tate.org.uk/whats-on/tate-modern/exhibition/bruce-nauman
L’eclipse, 2006 offers a studious meditation on the supernatural visual phenomenon created by a total solar eclipse occurring at sunset. L’eclipse shows the changing imagery, colors, and shapes produced by the advancement of the moon’s shadow in front of the larger, setting sun. Over the ten minutes and 24 seconds of the film, the yellow sun slowly is slowly engulfed by the red shadow of the moon – also the color of the sky. To create this video, Grasso used advanced film technology to stage a pseudo-eclipse occurring at the same time as a sunset – a supernatural phenomenon that would not take place in real life. In talking about L’eclipse, Grasso said, “I decided to make my own false miracle, mixing a sunset and an eclipse to make something very rare, and a little bit supernatural.” This play on perception is a hallmark of Grasso’s practice and ties this work into his oeuvre. Duration: 10:24 min Edition: 1/5 + 2 AP Archival: DVD Exhibition copy: mp4 digital file Signed Certificate of Authenticity Provence: Galerie Chez Valentin
Meet me in Wichita, 2007 “It started out with the idea of bin Laden: paralleling the search for Osama bin Laden and the demonization of one particular character with the witch trials, and kind of the fanatic idea of fear and evil. . . I placed Osama bin Laden into The Wizard of Oz. Martha Colburn is a filmmaker well-known for her animation films, which are created through puppetry, collage, and paint on glass techniques. She has made over forty films since 1994. Meet Me in Wichita, the artist said, “It started out with the idea of bin Laden: paralleling the search for Osama bin Laden and the demonization of one particular character with the witch trials, and kind of the fanatic idea of fear and evil. . . I placed Osama bin Laden into The Wizard of Oz. . . I mean, it's a documentary of something that people can write about but there's no way to film it, really, other than animation. The same way they used animation to illustrate things in outer space, or before they had microscopes ... And yeah, they're usually political, and not the softest-edged ideas, you know? They're challenging and they're not presented in some kind of a soft way.” __________ Martha Coburn "Meet me in Wichita" 2007 Duration: 9 minutes Edition: 4/75 Archival: 16mm and DVD Exhibition copy: mp4 digital file Signed Certificate of Authenticity Provence: Galerie Anne De Villepoix Additional artist works included: Collaged artist box with watercolors on the exterior and interior. Box contains 5 watercolor works on paper, signed by the artist. Colburn’s films examine the complex dynamics of contemporary life, politics, and society. Colburn works for years on a single project, and her films result from intensive research and meticulously rendered stop-motion animations. Through photography, collage, painting, and puppetry, Colburn uses handmade aesthetics to create touching, personal, and unforgettable narratives. Her film Metamorfoza was included in the 2017 B3 Biennale of the Moving Image in Frankfurt, Germany. Colburn is a Creative Capital grant recipient for Western Wild...or how I found Wanderlust and met Old Shatterhand, a densely textured documentary about the making of a film about the famed German author Karl May. She is a frequent featured artist at the Sundance Film Festival, where she initiated the New Frontiers film and video installation program in 2007 with her film Meet Me in Wichita. Colburn was also a featured artist at the opening of the Museum of Arts and Design in New York, with a live performance of films and music. Her work is in the collections at MoMA and the Philadelphia Museum of Art, and her film Triumph of the Wild is permanently on show at the Military History Museum in Dresden, Germany. __________ https://www.nermanmuseum.org/exhibitions/2009-02-05-colburn-martha-meet-me-in-wichita.html
Vincent van Gogh: 42 Self Portraits in under 60 seconds, Picard presents a seamless montage of 42 self-portraits by famed artist Vincent van Gogh. One portrait morphs into the next, causing the viewer to make quick, sometimes subconscious, visual connections. __________ Vincent Van Gogh 42 Self Portraits, 2003 Duration: 14:46 mins Edition: 2/5 Archival: DVD Exhibition copy: mp4 digital file Signed Provence: Richard Heller Gallery __________ Vincent van Gogh: 42 Self Portraits is a looped video made by Dane Picard. In under 60 seconds, Picard presents a seamless montage of 42 self-portraits by famed artist Vincent van Gogh. One portrait morphs into the next, causing the viewer to make quick, sometimes subconscious, visual connections. Curator James Housefield pointed out, “Van Gogh’s modernism is heralded as the harbinger of Expressionism, in which each brushstroke contributes to the artist’s goal of communicating emotions through paint and canvas. Paradoxically, Picard works with computer technologies that are generally considered impersonal. As the shifting 42 self-portraits show Van Gogh in a new light, ever-changing yet trapped in his own self-depictions, Picard’s work raises questions about the possibility for artistic expression today. By looping the short cycles of the repeated 42 self portraits, Picard calls attention to the power of repetition in constructing the histories of art and taste. Artists and museum visitors today are more likely to know past artworks through mechanically reproduced images than through direct experience of the originals. Picard shows that each of these reproduced images may take on a life of their own, appearing to live, breathe, and grow in time.” Dane Picard is an American artist and filmmaker who began making video artworks in the late 1990s. Quickly gaining acclaim for his work, in 1999, he participated in several national and international film festivals, becoming a 1999/2000 Short Film Grant Finalist from Aperture. Picard continued to exhibit work internationally, participate in film festivals around the world, and win awards for his accomplishments with film
Beach Park, 2008 is a visual meditation on a casual, quotidien California scene of a beach park. Glen Rubsamen Beach Park 2008 Duration: 10:25 Edition 2/10 Archival: Blue Ray (HD) Exhibition: mp4 digital file Signed Beach Park is a video artwork by Glen Rubsamen. Like the paintings for which the artist is most well-known, Beach Park offers a meditation on a casual California scene. The first part of the video, which is a little over half of the length of the entire piece, shows a nondescript view of a small grassy area with a couple of tall palm trees. Within this first part, the camera shifts perspective once, offering a slightly different view of the trees and park. Very little happens during this time, with the only sound being the ambient noises of wind, voices, and traffic, and the only activity being the semi-frequent passing by of a vehicle, pedestrian, or biker. The sky is blue and there is a general sense of peace and calm. In the second part of the video, the view changes to show a fake tree cell phone tower, and in this part, even less activity occurs. A couple of work trucks pass by at different points, but that is all. The simplicity of this moving image relates to the simple, yet beautiful, style of Rubsamen’s paintings, which feature silhouetted images of palm trees, billboards, electric wires, and other everyday sightings against a pure California sky. Glen Rubsamen (b. 1957, Hollywood, California; lives and works in Los Angeles and Düsseldorf) is a fine artist and writer who works with painting, photography, and video art. Rubsamen earned his undergraduate degree in 1978, followed by his MFA in 1981, both from UCLA. Known primarily for his precise, colorful paintings of the California sky featuring silhouetted foreground imagery such as palm trees, billboards, electric wires, and faux-tree cell phone towers, the artist has more recently expanded his paintings’ subject matter to include scenes of oil spills, tanks, soldiers, nuclear reactors, and even the Statue of Liberty, all while staying true to his exacting, photorealistic style. He has translated this high-contrast painting style to his video artwork, offering moving image studies of California skyscapes, plants and their shadows, and other minimally manipulated images. An interest in the sounds inherent to a place is evident in his video work, with soundtracks ranging from heavy, moody music to just the voices present on the beach during that day of filming. Rubsamen is represented by Mai 36 Galerie in Zürich and shows regularly with the gallery. He has had several important gallery shows in recent years, including Glen Rubsamen: Environmental Catastrophes Top Ten And Other Abominations, Cosar HMT, Düsseldorf, 2019; Glen Rubsamen: Chain Reaction, Stene Projects, Stockholm, 2018; Glen Rubsamen: Clear From The Start, Mai 36 Galerie; Glen Rubsamen: The Disguise Was Almost Perfect, Christopher Grimes Gallery, Los Angeles, Glen Rubsamen: Gleaming and Inaccessible, Alfonso Artiaco, Naples; Glen Rubsamen: Partners in Crime, Trieze, Paris, 2014; and a museum show, Glen Rubsamen: Islands in the Stream, Staatliche Kunsthalle Baden-Baden, 2006. ____________ Exhibition information from “Exhibitions,” Glen Rubsamen Website, http://www.glenrubsamen.com/exhibitions.html
On Translations, Celebracions, 2009 Muntadas’ video presents a composite mash-up of the wholesome moments following soccer game victories drawing attention to the universality of competition, victory, and accomplishment. Duration: 9.33 mins Edition: 1/6 Archival: Submaster Digi Beta Exhibition copy: mp4 digital file Signed Certificate of Authenticity Provence: Galerie Gabreille Maubrie On Translation: Celebracions is a video artwork by pioneering Spanish media artist Antoni Muntadas. In the nine and a half minute total, the video presents a composite mash-up of the wholesome moments following soccer game victories when the winning players, team, and coaches boisterously embrace in happiness. Accompanied by a constant soundtrack of fans cheering and yelling, the video celebrates the victorious feelings and camaraderie of the winning teams. The video concludes by showing a unifying prayer circle held by one team after its victory. The artist has used footage of teams from all over the world in this film, attesting to the racial diversity of the international football world; interestingly, the artist has only shown the victories of men’s soccer teams, with no women’s teams being included. The choice of subject matter in showing football victories is notable because these wins represent universally appealing moments that require no intercultural translation. By titling the video On Translation: Celebracions, the artist is in fact drawing attention to the universality of competition, victory, and accomplishment. Muntadas began the On Translation series in 1996, and presented a work from this series as the Spanish representative to the 51st Venice Biennale in 2005. __________ Antoni Muntadas (b. 1942, Barcelona; lives and works in New York) is a post-conceptual multimedia artist considered to be one of the pioneers of media and conceptual art in Spain. Through his work with video, the Internet, photography, installation, text, public interventions, and more, Muntadas “has addressed topics such as the changing relationship between the public and the private, the naturalization of the logic of consumerism, the cultural homogenization processes imposed by globalization, the use of architecture as a tool for legitimating political and economic power, the importance of the mass media in the expansion of financial capitalism, the functioning of the artistic ecosystem or the exploitation of the fear of the ‘other’ as a strategy for social control.” Throughout his career, Muntada has focused on creating work that exposes various aspects of the complex, dark, but sometimes widely accepted innerworkings of society and the institutions which make up our contemporary world. A basis in scholarly research is a common thread linking Muntadas’s oeuvre, with his having undertaken large scale, research-based projects on such topics as censorship and the media’s culture of fear. Muntadas is also an educator, having served on the faculty of MIT’s Program in Art, Culture, and Technology for over 20 years and having taught as a guest instructor at many important educational institutions throughout Europe and the United States, including the Ecole des Beaux-Arts, Paris; Ecoles des Beaux-Arts, Bordeaux and Grenoble; University of California, San Diego; San Francisco Art Institute; Cooper Union, New York; University of São Paulo; and University of Buenos Aires. He has also won many awards, including from the Solomon R. Guggenheim Foundation; Rockefeller Foundation; National Endowment for the Arts; New York State Council on the Arts; Ars Electronica, Linz, Austria; Laser d'Or, Locarno, Switzerland; Premio Nacional de Artes Plásticas, Catalan; and Premio Velázquez de las Artes Plásticas. In 2005, he represented Spain at the Venice Biennale, presenting an iteration of his On Translation series. Muntadas’s work is routinely the subject of important institutional exhibitions, with recent solo shows including Dérive Veneziane, 72nd Venice Film Festival, 2015; Asian Protocols, Total Museum, Seoul, 2014; Muntadas: Entre/Between, Museo Nacional Centre de Arte Reina Sofía, Madrid, 2011-2012, traveled to Fundação Calouste Gulbenkian, Lisbon, Jeu de Paume, Paris, and Vancouver Art Gallery, 2012; About Academia, Carpenter Center for the Visual Arts at Harvard University, Cambridge, 2011, traveled to Arizona State University, Phoenix, and American Academy, Rome, 2011; and On Translation: Açik Radyo, Myths and Stereotypes, Istanbul Modern Museum, 2010. Muntadas’s work is in the permanent collections of several important institutions, including the Museum of Modern Art, New York; Tate, London; Museo Nacional Centro de Arte Reina Sofia, Madrid; and Palazzo Grassi Pinault Collection, Venice.
Legs, 2012 presented in a loop, the animated GIFs are short sequences depicting large-scale raw clay sculptures being created in an outdoor setting. Legs Year: 2012 Duration: 9 min 49 sec Edition: 2/3 edition Archival: master tape Exhibition copy: mp4 digital file Provence: Lovenbruck Gallery, Paris (Palais de Tokoyo 2013 exhibition essay) For time is precisely at the heart of the short videos recently produced by the intrepid duo. These sequences— undeniably forming a coherent whole—reproduce the precepts of proto-cinema: through the use of stop motion, each of these videos creates the illusion of movement, just like the flip books, thaumatropes and phenakistoscopes of earlier times. From tapestry weaving to granite carving, from chain sawing to firing ceramics, Daniel Dewar and Grégory Gicquel’s (b. respectively in 1976 and 1975, they both live and work in Paris) artistic lexicon creates a joyful— albeit erudite—hodgepodge of types. Though the artists constantly quote pop culture references, thereby casually shrugging off the prevailing aesthetic canons and good taste, they do, however, take their place in the history of sculpture, from its ancient origins to the post-industrial era. The motifs they use throughout their work borrow as much from medieval recumbent effigies as from a form of abstraction developed by certain artists in the latter half of the 20th century.
October (for r.p.) 2011 from her series, Year Long Loop, documents the sound and view as experienced from the vantage point of a Los Angeles ridge between October 2004 and September 2005. Duration: 120 min Edition: n/a Archival: DVD Exhibition copy: mp4 digital file Signed Certificate of Authenticity Provenance: Margo Levin Gallery __________ October (for r.p.) is a film made as part of artist Cindy Bernard’s film series Year Long Loop, made from 2004 to 2005. According to the artist, “Recorded between October 2004 and September 2005 and completed in 2011, Year Long Loop documents the sound and view as experienced from the vantage point of a Los Angeles ridge. The work consists of one five minute shot for each hour of the day, organized by month, resulting in a continuous 24 hour loop. Inspired by the mix of sounds emanating from neighborhoods at the base of Mt. Washington, the soundtrack includes the cries of local wildlife (owls, coyotes, crickets etc.) combined with car alarms, gun shots, sirens and ice cream trucks, occasionally punctuated with the events of 2004-2005, including the presidential debates and the reelection of George Bush, the Indonesian Tsunami, the Iraq War, the Michael Jackson trial verdict and Hurricane Katrina.” The film begins at night, offering the viewer a dark city scene with a clearly-lit main thoroughfare. Every five minutes, the scene changes – sometimes slightly, and sometimes drastically – and it becomes clear that time is passing. The abrupt jumps from clip to clip clarifies that viewers are not seeing an entirely continuous film, but rather one that has been edited and altered in some way while still bearing witness to the environment’s daily changes. In some scenes, the view is completely clear, while in others, it is completely obfuscated. This dealing with the passage of time is a recurrent theme throughout Bernard’s work. Cindy Bernard (b. 1959, California) has had an artistic career spanning over three decades and is known for her work with photography, video, performance, installation, public art, and activism. Her bodies of work have examined such issues as cinema, memory, and landscape, as well as sound, the passage of time, social engagement, personal and collective histories, and migration. Her video and photography projects in particular have gained her recognition as an important conceptual artist of our time. She has also become well known for her staging of multimedia performances which include readings, sound, video, and live music. Recent solo exhibitions include shows at Richard Telles Fine Art, Los Angeles, 2017; the Fralin Museum of Art, University of Virginia, 2014; and Mills Gallery, Boston Center for the Arts, 2008. Bernard’s achievement has been confirmed through the conferral of several important awards, including the Smithsonian American Art Museum New Media/New Century Award in 2000; the Center for Cultural Innovation, Investing in Artists Fund in 2010; and a MacDowell Colony Fellowship from the National Endowment for the Arts in 2016. Her work is also in the collection of many important public institutions, including the Centre Pompidou, Paris; Los Angeles County Museum of Art; Museum of Contemporary Art, Los Angeles; Museum of Contemporary Photography, Chicago; Museum of Modern Art, New York; Nouveau Musée d Art Contemporain, Lyon; and Whitney Museum of American Art, New York. Bernard lives and works in Los Angeles, where she is an adjunct professor at the Graduate Fine Art, Art Center College of Art and Design.
Faces, 2004, the artist fabricates completely artificial portraits from four real faces, each face slowly fades into the next. Primarily designed to represent reality, is diverted from it's original function, as the artist creates both the object and it's representation. Pascal Loubet "Faces 2" 2004 Duration: 15 mins Edition: 8/11 Archival: DVD Exhibition copy: mp4 digital file Signed Certificate of Authenticity Provence: Galerie Esther Woerdehoff Loubet grew up in Le Havre, France and by the age of seventeen, he already was creating art. He began doing very fundamental nude and portrait photographs. From there he moved on to lifestyle and sports images and worked for the clothing line Ron Dorff and other similar premium sportswear brands. Though his first photograph published in 1984, 2004 is the year when he considers to officially started his career in photography. The ease of producing images by incorporating his own personal taste and fascination for the male form led him to choose the nude art genre. Using his own phobia of clutter, Pascal Loubet strips away anything unnecessary and with no meaning from his photographs. The resulting images showcase a stark contrast between the male body's hard curves and the straight lines from the geometric shapes or even very plain surfaces of the background. Furthermore, the phrase from a French playwright, "the incandescent glow of grey," aptly describes his photographic style. Through his images, Pascal Loubet highlights the masculine characteristics of the models in his photographs and showcases their toned muscles. He prefers to use different lighting techniques such as flashlights, continuous lights, or natural light to further enhance the effects in each of his images. Furthermore, his portfolio consists of sport and lifestyle stories as well as abstract subjects. He believes that the purpose of an image is to tell a story. An image should have a similar effect a moving distant memory has on a viewer. Though he still enjoys capturing the male form, he currently focuses more on reproducing memories from his own youth. Pascal Loubet’s body of work finds inspiration from painters and architects such as the American realist painter Edward Hopper, the German art school the Bauhaus, the French-Swiss architect Le Corbusier, and the American-German architect Ludwig Mies van der Rohe. Furthermore, the work of Japanese film director and screenwriter Yasujirō Ozu, the American Southern Gothic film titled Suddenly Last Summer, the German-American film director Douglas Sirk, and the movement of Italian neorealism—more specifically the early work of Italian film directors Pier Paolo Pasolini and Roberto Rossellini—also influence his creativity. Additionally, he also admires the work of American art photographer Ralph Gibson, American fashion photographer Bruce Weber, German photographer Herbert List, Brazilian photographer Alair de Oliveira Gomes, and German film director Leni Riefenstahl. Pascal Loubet holds an MD degree in Modern Literature and Arts as well as a Ph.D. degree in Communication. His work exhibited in various solo and group exhibitions throughout Europe, mainly in France. Most notably, his images displayed at FIAC (Foire Internationale d'Art Contemporain), Art-Paris, Paris-Photo, other several international art fairs, and on French and American television. Furthermore, his male nude images published in various photo book volumes. (1) _____________ 1.https://pascalpprl.artprovocateur.com/