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picture of How Not to Be Seen
Hito Steyerl. How Not to Be Seen: A Fucking Didactic Educational .MOV File. 2013. Video (color, sound). Video (color, sound). 14 min. Committee on Media and Performance Art Funds. © 2014 Hito Steyerl

picture of Not Blacking Out, Just Turning the Lights Off
James Richards. Not Blacking Out, Just Turning the Lights Off. 2011. Two-channel video (color, sound). 16:15 min. Commissioned by Chisenhale Gallery. Fund for the Twenty-First Century. © 2014 James Richards. Courtesy the artist and Rodeo, Istanbul and London.

picture of Ken Okiishi gesture/data 2014
Ken Okiishi. gesture/data. 2014. Oil and Chroma Key Video Paint on flat-screen televisions, VHS and HD video transferred to .mp4 (color, sound). Left screen: 12:21 min. loop Right screen: 75:13 min. loop. Acquired through the Generosity of Jill and Peter Kraus. © 2014 Ken Okiishi

"Cut to Swipe"

The Museum of Modern Art

Special Exhibitions Gallery, second floor

October 11, 2014—June 21, 2015

Cut to Swipe, comprised primarily of recent acquisitions by the Department of Media and Performance Art, features works that appropriate and manipulate images and sound drawn from electronic media like television, cinema, the recording industry, and the Internet. Ranging from Dara Birnbaum’s landmark installation PM Magazine (1982) to recent works by Kevin Beasley, Ken Okiishi, Luther Price, James Richards, Hito Steyerl, and The Otolith Group in collaboration with Chris Marker, the exhibition highlights a range of responses to the quickly changing nature of images, and their proliferation through new imaging and distribution technologies. Carving out a space for personal and political reflection within pervasive streams of information, the works in the exhibition demonstrate the shift from analog to digital concerns, as artists grapple with defining new forms of materiality, and new critical approaches in a radically more virtual world.

Cut to Swipe traces key works, produced since the early 1980s, which have pioneered innovative ways of rearticulating the moving image and appropriated cultural forms within the gallery. If the cut signifies collage and montage, foundational artistic strategies of the 20th century, the swipe suggests a 21st-century condition in which images have moved off the screen, dispersed at the flick of a finger into almost every corner of daily life.

Drawn entirely from the Museum’s collection, Making Music Modern gathers designs for auditoriums, instruments, and equipment for listening to music, along with posters, record sleeves, sheet music, and animation.

The exhibition examines alternative music cultures of the early 20th century, the rise of radio during the interwar period, how design shaped the “cool” aesthetic of midcentury jazz and hi-fidelity culture, and its role in countercultural music scenes from pop to punk, and later 20th-century design explorations at the intersection of art, technology, and perception.

Organized by Stuart Comer, Chief Curator, with Erica Papernik, Assistant Curator, and Leora Morinis, Curatorial Assistant, Department of Media and Performance Art.

The exhibition is supported by the MoMA Annual Exhibition Fund.

Source taken from www.moma.org exhibition page

picture of Dara Birnbaum PM Magazine 1982
Dara Birnbaum. PM Magazine. 1982. Four-channel video (color, three channels of stereo sound; 6:30 min.), chromogenic prints, Speed Rail® structural support system, aluminum trim, and painted walls. Dimensions variable. The Modern Women’s Fund and the Contemporary Arts Council of The Museum of Modern Art. © 2014 Dara Birnbaum. Courtesy the artist and Marian Goodman Gallery, New York and Paris
picture of Not Blacking Out, Just Turning the Lights Off
James Richards. Not Blacking Out, Just Turning the Lights Off. 2011. Two-channel video (color, sound). 16:15 min. Commissioned by Chisenhale Gallery. Fund for the Twenty-First Century. © 2014 James Richards. Courtesy the artist and Rodeo, Istanbul and London.
picture of James Richards Rosebud 2013
James Richards. Rosebud. 2013. Video (black and white, sound). 12:57 min. Fund for the Twenty-First Century. © 2014 James Richards. Courtesy the artist and Rodeo, Istanbul and London.