Blog posts tagged with: Technology

Posted Feb 20, 2014
By
Andrew Clifford
Julian Dashper, Untitled (Interviews) 2001-02, still from a double DVD in an edition of three

Towards the end of the second disk of Julian Dashper’s Untitled Interviews 2001-2002, Dashper contemplates the potential for documentation in a digital age. Should he keep all the emails he has exchanged with other artists, curators or institutions – we have the technology so why not? But if you keep everything, it becomes impossible to understand what you thought was important. Do you keep everything or do you edit it?

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 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 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 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.

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