The Golden Hour
Curated by Susanna Cole and Erin Donnelly
September 13 - October 28, 2006
OPENING RECEPTION: Wednesday, September 13, 2006, from 6-9pm.
opening night pictures | installation view | download press release | download checklist
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 Islands, 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
installation by Matthew Bakkom, harks back to analog editing, each loop in the chain is a
one-second clip of found film.
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.
book One Side of Broadwaytransforms 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
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.
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.
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. For this exhibition, Hug has collaborated with artist Borna Sammak.
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.
American Art and Early Film, 1880-1910, Grey Art Gallery, New York University, 100 Washington Square
East (between Waverly Place and Washington Place) on view from September 13
through December 9, 2006
Moving Pictures explores
links between American art and film at the turn of the 20th century. The first
exhibition to integrate cinema into the history of American art, revealing how
technological advances affected both representation and visual perception.
Mit Out Sound: Moving Image Visual Culture and Technology, Wednesday, October 18, 6:30-9 pm, New
York University, 19 University Place (between East 8th St. and Waverly Place),
co-sponsored by NYU's Deutsches Haus and Grey Art Gallery.
With Zoe Beloff, artist, filmmaker, and Assistant Professor, Queens College;
Jonathan Crary, Meyer Schapiro Professor of Modern Art and Theory, Columbia
University; and Jon Kessler, artist and Associate Professor, Columbia
University, this panel discussion will explore relationships among art, theory,
film, science, and technology.
Augustine by Zoe
Beloff (in magnificent 3-D!)
Tuesday, October 24, 7:30pm and 8:30pm show times, Gigantic ArtSpace 59
Franklin Street (between Broadway and Lafayette)
Inspired by series of photographs and texts on hysteria published by a
well-known insane asylum in Paris in the 1880's Beloff's stereoscopic film
explores connections between early psychology and the prehistory of narrative
film. Space is limited.
About the Curators:
Erin Donnelly and Susanna Cole have worked as a curatorial team since they met in the Whitney Independent Study Program five years ago. They have collaborated on numerous exhibitions including at "the lab" at the Roger Smith Hotel, Kunsthalle Exnergasse in Vienna and The Peekskill Project, among others. Erin is residency director and curator at the Lower Manhattan Cultural Council and Susanna is a doctoral candidate in art history at Columbia University.