Blog posts tagged with: Art history

Posted Mar 28, 2013
By
Mark Williams
Screen grab from Dinner with Henry (1979)

When is a video an artwork? How does representation on CIRCUIT support the collection of moving image works?

Posted Mar 13, 2013
By
Megan Dunn
Still from The Aachen Faxes, Marie Shannon, 2012

The Aachen Faxes (2012) is a simple striking video of white text on a black background. The text is taken from a series of faxes Julian Dashper sent to his partner Marie Shannon during his Aachen residency in 1995. The soundtrack is fittingly maudlin, a lone cello played by Dashper’s brother. The video is pitch perfect; the text exquisitely weighted across the screen as though set by a typographer onto a page.

Posted Mar 13, 2013
By
Megan Dunn
Still from The Aachen Faxes, Marie Shannon, 2012

The Aachen Faxes (2012) is a simple striking video of white text on a black background. The text is taken from a series of faxes Julian Dashper sent to his partner Marie Shannon during his Aachen residency in 1995. The soundtrack is fittingly maudlin, a lone cello played by Dashper’s brother. The video is pitch perfect; the text exquisitely weighted across the screen as though set by a typographer onto a page.

Posted Mar 13, 2013
By
Megan Dunn
Still from The Aachen Faxes, Marie Shannon, 2012

The Aachen Faxes (2012) is a simple striking video of white text on a black background. The text is taken from a series of faxes Julian Dashper sent to his partner Marie Shannon during his Aachen residency in 1995. The soundtrack is fittingly maudlin, a lone cello played by Dashper’s brother. The video is pitch perfect; the text exquisitely weighted across the screen as though set by a typographer onto a page.

Posted Mar 13, 2013
By
Megan Dunn
Still from The Aachen Faxes, Marie Shannon, 2012

The Aachen Faxes (2012) is a simple striking video of white text on a black background. The text is taken from a series of faxes Julian Dashper sent to his partner Marie Shannon during his Aachen residency in 1995. The soundtrack is fittingly maudlin, a lone cello played by Dashper’s brother. The video is pitch perfect; the text exquisitely weighted across the screen as though set by a typographer onto a page.

Posted Jan 28, 2013
By
Jamie Hanton
Yael Bartana, ...And Europe will be Stunned, Zamach (Assassination) 2011(film still). Courtesy of Annet Gelink Gallery, Amsterdam and Sommer Contemporary Art, Tel AvivYael Bartana, ...And Europe will be Stunned, Zamach (Assassination) 2011(film still). Courtesy of Annet Gelink Gallery, Amsterdam and Sommer Contemporary Art, Tel Aviv

I was extremely excited to learn that the Dunedin Public Art Gallery had secured the Govett Brewster's touring exhibition True Stories / Scripted Realities. Curated by Mercedes Vicente and featuring a tantalising international line-up, the promotional still from Kerry Tribe’s There Will Be _____ (2012) offered a sumptuous homage to Hollywood noir and an exhibition of rich cinematic promise.

Posted Jan 28, 2013
By
Jamie Hanton
Yael Bartana, ...And Europe will be Stunned, Zamach (Assassination) 2011(film still). Courtesy of Annet Gelink Gallery, Amsterdam and Sommer Contemporary Art, Tel AvivYael Bartana, ...And Europe will be Stunned, Zamach (Assassination) 2011(film still). Courtesy of Annet Gelink Gallery, Amsterdam and Sommer Contemporary Art, Tel Aviv

I was extremely excited to learn that the Dunedin Public Art Gallery had secured the Govett Brewster's touring exhibition True Stories / Scripted Realities. Curated by Mercedes Vicente and featuring a tantalising international line-up, the promotional still from Kerry Tribe’s There Will Be _____ (2012) offered a sumptuous homage to Hollywood noir and an exhibition of rich cinematic promise.

Posted Jan 28, 2013
By
Jamie Hanton
Yael Bartana, ...And Europe will be Stunned, Zamach (Assassination) 2011(film still). Courtesy of Annet Gelink Gallery, Amsterdam and Sommer Contemporary Art, Tel AvivYael Bartana, ...And Europe will be Stunned, Zamach (Assassination) 2011(film still). Courtesy of Annet Gelink Gallery, Amsterdam and Sommer Contemporary Art, Tel Aviv

I was extremely excited to learn that the Dunedin Public Art Gallery had secured the Govett Brewster's touring exhibition True Stories / Scripted Realities. Curated by Mercedes Vicente and featuring a tantalising international line-up, the promotional still from Kerry Tribe’s There Will Be _____ (2012) offered a sumptuous homage to Hollywood noir and an exhibition of rich cinematic promise.

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