Animation
Combining the sculptural and the digital.
Combining the sculptural and the digital.
Narrativizing everyday experiences of the pandemic in New York City.
The artist mines the visual languages of virtual reality, contemporary dance, music videos, ancient Roman architecture, and West African shrouding rituals to create a “weird, metastasized utopia” of digital social space.
On the heels of a theatrical run of Price’s evolving film Redistribution, the two artists discuss the ethics of streaming, artworks on the verge of falling apart, SoundCloud mixes, and the chaos of assigning cultural value in the twenty-first century.
Somewhere between cinema and video games.
The art of animation and automatons.
Connecting real space and virtual images.
Like his older compatriot Mark Leckey, Atkins deftly utilizes syncopated montages of sounds and filmic images to create disturbing and disorienting virtual realities.
“Like holding hands with a stranger—for kind of a long time.”
“I liked thinking about the word occupy literally. To occupy something. To occupy a sensation or a history and then to be kicked out of it and be squatting near it and trying to reinvest in it.”
“Traditionally, a painting treats you to the front and center seats. I like the idea you might get a seat that’s off to the side.”
Siddhartha Gautama
Grew rather stout from a
Devotion unremitting
To sitting.
On his second stop at Wood Street Galleries, Icelandic artist Finnbogi Petursson returns with Second/Second, his first solo US exhibition, featuring two large installations involving sound, light, and water.
Weinstein elaborates on the sources behind his animated videos with Simmons, with whom he has previously collaborated. These range from telemarketing, Brecht, entertainment, and what Weinstein calls the “national pastime” of self-absorption.
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