Events kick off Phase 2 of Andrew W. Mellon Foundation–funded Time-Based Media Project
Carnegie Museum of Art (CMOA) announces Double Exposure, a series of screening events presenting contemporary perspectives on pioneers of the past. The series features artists, preservationists, curators, and scholars discussing the legacy of avant-garde film and video of the 1960s-80s, including works in CMOA’s permanent collection and beyond. Comprised of nearly 1,000 time-based artworks, this collection reflects the history of CMOA’s film and video department, established in 1970. As part of the first wave of museums to celebrate moving image work, CMOA played a central role in legitimizing film as an art form, hosting historical screenings, director’s retrospectives, and monthly appearances of avant-garde filmmakers from around the world and leading a movement that would eventually result in the integration of time-based media in museum collections worldwide. Double Exposure seeks to recapture some of the energy of that period, reexamining artists who played an important role in CMOA’s history and introducing the work of contemporary artists who have been influenced or inspired by their work. All events are free and open to the public, and will take place in the CMOA Theater.
Upcoming Double Exposure screenings include
The CRT Canvas: Television and Materiality, 1969–1983
Presented by Jonathan Furmanski, associate conservator, Getty Research Institute
Thursday, December 11, 2014 | 6:30–8 p.m.
Jonathan Furmanski is the conservator heading up the preservation of the Long Beach video archive, a collection of 3,000 tapes amassed by the Long Beach Museum of Art and City of Long Beach over the course of 30 years, now recognized as one of the earliest and most important archives of video art. His presentation, The CRT Canvas,includes a number of works from the first generation of artists working with video, including Bill Viola, William Wegman, Alan Kaprow, and Wolfgang Stoerche, and discussion of the ways in which they interrogated or creatively exploited the physical materials of television to produce their work. Furmanski will also share two rare tapes in his care at the Getty that propose other ways of performing in/with/alongside television: Cynthia Maughan’s Gone with the Wind (1976) and a tape fragment from Dan Graham’s 1974 installation Continuous Present Past(s).
Towering Turrets of Tomorrow Land: The Films and Writings of George Kuchar
Presented by Andrew Lampert, curator of collections, Anthology Film Archives
Thursday, February 5, 2015 | 6:30–8 p.m.
Over the course of his five-decade career, from his teenage years in the Bronx until his death in 2011, George Kuchar created an incomparable body of nearly 350 films and videos. Teeming with ribald humor and unswerving illogic, and with a refined sense of the absurd and a “no budget, no problem” attitude, his ceaseless output veered from outlandish spoofs on schlocky Hollywood melodramas to intimate documents of his everyday life. Join Andrew Lampert, editor of The George Kuchar Reader (pub. 2014 by Primary Information), for a reading from Kuchar’s notebooks and a screening of his rarely seen 16mm films Eclipse of the Sun Virgin (1967, 15 min.), Power of the Press (1977, 16 min.), Forever and Always (1978, 20 min.), and Yolanda (1981, 22 min.).
Artist’s Proof: Jennifer West
Thursday, March 5, 2015 | 6:30-8:30 p.m.
Los Angeles–based artist Jennifer West makes films in which the celluloid is subjected to a wide range of unorthodox processes, whether doused with perfume, alcohol, mascara, or pepper spray; skateboarded on; kissed; or dragged through tar pits. The specific materials she employs for each film enhance and reinforce the experiential and performative nature of the work, recording the time and place of production on an elemental, as well as representational, level. At CMOA, West will present a selection of 16mm films from the museum’s permanent collection as well as a few of her own films, and will discuss her process, influences, and the persistent appeal of film in a digital world.
The Double Exposure series is part of CMOA’s Time-Based Media Project. Begun in 2011 with funding from the Andrew W. Mellon Foundation, the Time-Based Media Project is a multifaceted initiative focused on stewarding film, video, audio, and computer-based artworks into the future, as well as catalyzing research and discussion in the field. Phase I of the project, which concluded earlier this year, centered on examining and cataloging CMOA’s time-based media collection and taking initial steps to make the collection more widely available to researchers and the general public. Preservation efforts undertaken during Phase I have enabled ongoing presentations of collection works in CMOA’s Scaife Galleries.
With an additional $500,000 grant from the Andrew W. Mellon Foundation awarded in 2013, the project team (led by Emily Davis, senior research associate for the Time-Based Media Project, and Amanda Donnan, assistant curator of contemporary art) is now undertaking Phase II. Spanning three years, the second phase will promote the long-term stability and vitality of this collection, make it more widely accessible to a variety of users on and offsite, and advance discussions among museums, artists, and other constituents about methodologies and standards for preserving time-based media art.
In addition to the Double Exposure screening series, the public-facing aspect of this second phase will include a book and web-based archive of photographs, ephemera, and documentation that contextualize the artworks in the collection, and shed light on the programmatic history of CMOA’s pioneering film and video department. A symposium, scheduled for October 22–24, 2015, will build on the museum’s successful 2013 conference A Collection of Misfits: Time-Based Media and the Museum, bringing leading experts in the field to Pittsburgh.
For more information about the Andrew W. Mellon Time-Based Media Project, and to follow Double Exposure event listings, visit cmoa.org.
The Andrew W. Mellon Time-Based Media Project is made possible due to the generous support of the Andrew W. Mellon Foundation.
General operating support for Carnegie Museum of Art is provided by The Heinz Endowments and Allegheny Regional Asset District. Carnegie Museum of Art receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania.
Carnegie Museum of Art
Located at 4400 Forbes Avenue in the Oakland section of Pittsburgh, Carnegie Museum of Art was founded by industrialist and philanthropist Andrew Carnegie in 1895. One of the four Carnegie Museums of Pittsburgh, it is nationally and internationally recognized for its distinguished collection of American and European painting, sculpture, and decorative arts from the 19th century to the present. Founded in 1896, the Carnegie International is one of the oldest surveys of contemporary art worldwide. The Heinz Architectural Center, part of Carnegie Museum of Art, is dedicated to enhancing understand of the built environment through its exhibitions, collections, and public programs. The Hillman Photography Initiative serves as an incubator for innovative thinking about the photographic image. For more information about Carnegie Museum of Art, call 412.622.3131 or visit our website at www.cmoa.org.
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