Mar 5, 2024
Enduring the Enclosure: Bea Camacho's 11-Hour Performance of 'Enclose' in 2005
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Enduring the Enclosure: Bea Camacho's 11-Hour Performance of 'Enclose' in 2005
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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Join us and the @metmuseum time-based media working group for a presentation by @benfinoradin on our work to pioneer new models for supporting artists practices, and enabling access to conservation. • Thursday, November 21st, 3:30pm reception, 4-5pm presentation. • RSVP to [email protected] • Bonnie J. Sacerdote Lecture Hall, Ruth and Harold D. Uris Center for Education • The Metropolitan Museum of Art 1000 Fifth Avenue, New York, NY 10028 Please use the museum’s fifth avenue and eighty-first street entrance
The inaugural Future Fields Commission in Time-Based Media, a joint commission and acquisition initiative by the Museum and the Fondazione Sandretto Re Rebaudengo for film, video, sound, or performance, has been awarded to artist Rachel Rose. She’s premiering her new artwork, titled “Wil-o-Wisp,” in the galleries until September 16. Don’t miss your opportunity to experience this immersive video installation, centered on magic and perception in the 1500s in England.
Still from Wil-o-Wisp, 2018, by Rachel Rose (American, born 1986). Single-channel video with unique installation. Jointly commissioned and owned by the Philadelphia Museum of Art and Fondazione Sandretto Re Rebaudengo Funding is made possible for the Philadelphia Museum of Art through the Contemporary Art Revolving Fund © Courtesy of Rachel Rose, Gavin Brown’s enterprise, New York/Rome, and Pilar Corrias, London
Tuning the Trans-Harmonium
The act of handing over museum rooms to be filled with expanded choreographic forms had a dual effect. It not only allowed the spectator to witness the development process and be offered tools to better understand the pieces; it also rendered each room an area of artistic autonomy, given that the now alienated artists were not obligated to respond to each other. These “living spaces”—unable to share in one, singular narrative—required that each artist stand on their own. The resulting alienation effect brings to mind the duality of “synchronic” and “diachronic” exhibitions discussed by Rosalind Krauss.
Krauss reformulates the tension between institutions dedicated to the preservation and presentation of contemporary art, and the logic of late capitalism. This reformulation came after Krauss spoke to Thomas Krens, who at the time was the director of the Guggenheim. As Krauss recounts, Krens described his vision of a new type of relation between artistic production and its spatial presentation:
What was revealed to him was not only the tininess and inadequacy of most museums, but that the encyclopedic nature of the museum was “over.” What museums must now do … was to select a very few artists from the vast array of modernist aesthetic production and to collect and show these few in depth over the full amount of space it might take to really experience the cumulative impact of a given oeuvre.
Krauss points out that this “discursive change” Krens imagines is one that shifts from diachrony to synchrony. She explains that through this transformation, the entire model of the museum—which previously exhibited works in a way that connected different eras and forms of art into a whole and coherent story—now becomes a space for the presentation of a disconnected selection of artists. The key difference for the spectator is that instead of time, it is the experience of space and the use of architecture as a tool that enhances the art. This transformation can be seen as an evolution of installation art as it intersects with the increasingly autonomous role of the artist. The logic of capitalism had stripped bare the museum’s pretensions to historical preservation, now revealing a relation that epitomizes the commodification of art.
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
We had a great time today leading a @creativetime workshop on digital preservation and decentralized storage. So cool to see folks learning how to use Starling ✨ keep your eyes 👀 peeled for more workshops in 2020 ✌️
Having built an incredible collection of time-based media art over the course of the 20th century, the @whitneymuseum needed a repository to store, protect, and provide secure access to the digital assets of time-based media art in their permanent collection. When the Whitney Museum set about to build a new location for the museum, they hired world renowned architect Renzo Piano. When they set about to establish critical digital preservation infrastructure for their collection, they hired @small_data_. Read all about it in the case study 👆 link in bio [WHITNEY MUSEUM OF AMERICAN ART AND THE HIGH LINE, 2015, LOCATED AT THE CORNER OF WASHINGTON STREET AND GANSEVOORT STREET, NEW YORK. PHOTOGRAPH BY ED LEDERMAN]
Having built an incredible collection of time-based media art over the course of the 20th century, the @whitneymuseum needed a repository to store, protect, and provide secure access to the digital assets of time-based media art in their permanent collection. When the Whitney Museum set about to build a new location for the museum, they hired world renowned architect Renzo Piano. When they set about to establish critical digital preservation infrastructure for their collection, they hired @small_data_. Read all about it in the case study 👆 link in bio [WHITNEY MUSEUM OF AMERICAN ART AND THE HIGH LINE, 2015, LOCATED AT THE CORNER OF WASHINGTON STREET AND GANSEVOORT STREET, NEW YORK. PHOTOGRAPH BY ED LEDERMAN]