Blog posts tagged with: Body

Posted Jul 29, 2020
By
Robbie Handcock
Still from Popular Glory (2017) Zack Steiner-Fox

Popular Glory: Contemporary Queerness and the Moving Image is a new four-part podcast series hosted by Pōneke artist Robbie Handcock, interviewing a range of Aotearoa artists working in moving image who employ queerness as identity, content and strategy.

In Episode One, we speak to Berlin-based Tāmaki Makaurau artist ZK Steiner-Fox. Leading from their work Popular Glory, we discuss how the horror movie format—with all its tensions as well as its tropes—is used in ZK’s work to examine the impact of queer coding, classic Hollywood morality and the everyday terror of navigating contemporary media.

Posted Jul 29, 2020
By
Robbie Handcock
Still from Popular Glory (2017) Zack Steiner-Fox

Popular Glory: Contemporary Queerness and the Moving Image is a new four-part podcast series hosted by Pōneke artist Robbie Handcock, interviewing a range of Aotearoa artists working in moving image who employ queerness as identity, content and strategy.

In Episode One, we speak to Berlin-based Tāmaki Makaurau artist ZK Steiner-Fox. Leading from their work Popular Glory, we discuss how the horror movie format—with all its tensions as well as its tropes—is used in ZK’s work to examine the impact of queer coding, classic Hollywood morality and the everyday terror of navigating contemporary media.

Posted Jul 29, 2020
By
Robbie Handcock
Still from Popular Glory (2017) Zack Steiner-Fox

Popular Glory: Contemporary Queerness and the Moving Image is a new four-part podcast series hosted by Pōneke artist Robbie Handcock, interviewing a range of Aotearoa artists working in moving image who employ queerness as identity, content and strategy.

In Episode One, we speak to Berlin-based Tāmaki Makaurau artist ZK Steiner-Fox. Leading from their work Popular Glory, we discuss how the horror movie format—with all its tensions as well as its tropes—is used in ZK’s work to examine the impact of queer coding, classic Hollywood morality and the everyday terror of navigating contemporary media.

Posted Jan 31, 2014
By
Mark Williams
Still: Workbook page for Denim Seagull (2013) Yvonne Todd. Courtesy of the artist.

Smoke exhales from a pair of matte pink pipes; a young woman sways against a white washed background, the soft caw of seagulls rising. Last year Yvonne Todd produced two hypnotic moving image works. Smoke Emitters debuted at Sydney Contemporary in September and Denim Seagull featured in Gentle Disco, her last exhibition at Ivan Anthony in November. Moving image is a new medium for Todd, she’s known for highly staged colour photographs of flora and fauna, vegetables and frequently fictitious young women.

Posted Jan 31, 2014
By
Mark Williams
Still: Workbook page for Denim Seagull (2013) Yvonne Todd. Courtesy of the artist.

Smoke exhales from a pair of matte pink pipes; a young woman sways against a white washed background, the soft caw of seagulls rising. Last year Yvonne Todd produced two hypnotic moving image works. Smoke Emitters debuted at Sydney Contemporary in September and Denim Seagull featured in Gentle Disco, her last exhibition at Ivan Anthony in November. Moving image is a new medium for Todd, she’s known for highly staged colour photographs of flora and fauna, vegetables and frequently fictitious young women.

Posted Jan 31, 2014
By
Mark Williams
Still: Workbook page for Denim Seagull (2013) Yvonne Todd. Courtesy of the artist.

Smoke exhales from a pair of matte pink pipes; a young woman sways against a white washed background, the soft caw of seagulls rising. Last year Yvonne Todd produced two hypnotic moving image works. Smoke Emitters debuted at Sydney Contemporary in September and Denim Seagull featured in Gentle Disco, her last exhibition at Ivan Anthony in November. Moving image is a new medium for Todd, she’s known for highly staged colour photographs of flora and fauna, vegetables and frequently fictitious young women.

Posted Jan 14, 2013
By
Mark Amery
Still from Potato and Gravy, Sarah Jane Parton, 2012

Back in the early 1990s, friend, artist and then Elam School of Fine Arts intermedia student Tessa Laird enlisted my participation in making a video. Quite simply it involved one afternoon purchasing chicken dinners from the Kentucky Fried Chicken in Ponsonby Road, Auckland and then returning to my flat around the corner to get stoned and eat. We chewed the fat, as it were, for an hour or more, before the camera as witness.

Posted Jan 14, 2013
By
Mark Amery
Still from Potato and Gravy, Sarah Jane Parton, 2012

Back in the early 1990s, friend, artist and then Elam School of Fine Arts intermedia student Tessa Laird enlisted my participation in making a video. Quite simply it involved one afternoon purchasing chicken dinners from the Kentucky Fried Chicken in Ponsonby Road, Auckland and then returning to my flat around the corner to get stoned and eat. We chewed the fat, as it were, for an hour or more, before the camera as witness.

Posted Jan 14, 2013
By
Mark Amery
Still from Potato and Gravy, Sarah Jane Parton, 2012

Back in the early 1990s, friend, artist and then Elam School of Fine Arts intermedia student Tessa Laird enlisted my participation in making a video. Quite simply it involved one afternoon purchasing chicken dinners from the Kentucky Fried Chicken in Ponsonby Road, Auckland and then returning to my flat around the corner to get stoned and eat. We chewed the fat, as it were, for an hour or more, before the camera as witness.

Posted Jan 14, 2013
By
Mark Amery
Still from Potato and Gravy, Sarah Jane Parton, 2012

Back in the early 1990s, friend, artist and then Elam School of Fine Arts intermedia student Tessa Laird enlisted my participation in making a video. Quite simply it involved one afternoon purchasing chicken dinners from the Kentucky Fried Chicken in Ponsonby Road, Auckland and then returning to my flat around the corner to get stoned and eat. We chewed the fat, as it were, for an hour or more, before the camera as witness.

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