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October 19 - November 23, 2003
Opening
Reception Sunday October 19, 1pm - 4pm
Panel Discussion: "New Media Collaborations"
at 2:30pm with the exhibiting artists
ARTISTS INFORMATION AND BIOS
Tony Oursler has broken new ground in the world of video art by freeing the image from the cumbersome boundaries of the video monitor, conventional film screen and picture frame. Instead, he projects images on a variety of surfaces such as smoke, cotton balls, antennae and water. Faceless dolls are a reoccurring Oursler motif. Accompanied by a soundtrack of spoken and/or ambient sound, these dolls are transposed with projected video images of human faces.
Oursler's latest works are like strange creatures from a science fiction film or surrealist dream sequence. They elicit both empathy and fascination from viewers with their biomorphic forms aglow with projected images of isolated bulbous blinking rolling eyes and outsized mouths. Oursler is fascinated by how society immerses itself in technologies like movies, television and the Internet. “It's a way to experience things that we don't want to confront in real life”, says Oursler.
Born in New York in 1957, Tony Oursler lives and works in New York. He has exhibited widely throughout the USA, including the Museum of Modern Art, New York, and in nearly every major art museum in the world. In Europe he has had numerous one-person exhibitions including the Wiener Secession in Vienna, the Centre D'Art Contemporain in Geneva, Musee des Artes Modernes et Contemporains in Strasbourg, Stedeliik Van Abbemuseum in Eindhoven, the Milaneses gallery 1000 event, the Kunstverein in Hanover. His work is included in many permanent collections, including the Tate Gallery and the Saatchi Gallery in London, The Centre Georges Pompidou in Paris, the Whitney Museum of American Art and the Museum of Modern Art in New York, the Museum of Contemporary Art in Chicago and the Hirschhorn Museum in Washington, D.C.
Michael Zansky's kinetic sculptures invite the viewer to experience his world through giant anamorphic lenses that reveal a quirky, intense theater of constantly moving mundane objects in transition. Fluctuating rhythmic light sources, video screens and objects are the raw materials of Zansky’s primal kinetic structures. The optical space, composed of text & images, moves, bends and bows in tandem with the position of the viewer. bio Michael Zansky was born in New York in 1947 and has been exhibiting regularly since the 1970’s when he won both a Fulbright-Hayes Fellowship and Louis Comfort Tiffany Award. Zansky is represented by Berry-Hill Galleries and Universal Concepts in NYC and Gallery Camino Real, Boca Raton, FLA. His work is in the collections of the Brooklyn Museum of Art, the De Cordova Museum, MA and the Neuberger at SUNY Purchase.
Zansky’s work was recently on view in “Natural Histories” at Atlantic University, Schmidt Gallery, Florida and in “The Endurance of Art” at the Westport Arts Center, Connecticut along with Pablo Picasso, Faith Ringgold, Richard Serra, Kara Walker, Jean Woodham and Michal Rovner.
Audio installation and performance artist Constance De Jong plays an integral part in both Oursler's and Zansky's work. Sound takes on the mutable immaterial nature of language written by DeJong.
The text, either seen or spoken is integral to the other artists' visual systems.
In connection with Zansky, she has produced language as sound or spoken text, and language as images. When projected through the complex lens system of Zansky's objects, the imaged language appears to exist in space as visible light in the shape of words and moving alphabetical images. De Jong has collaborated with Oursler since the early 80's. Her contributions have taken the form of music, performance and sometimes as a text contributor in his video projection works of dolls and sculptures.
DeJong adapted her first novel, Modern Love in 1978 and began touring spoken word presentations of her work in the U.S., Canada and Europe. During the 1980's she extended her work with spoken language to video and audio recordings and continued to publish and present performances that combined live and pre-recorded audio and video material; also collaborating (in 1980) on the libretto and book of “Satyagraha”, an opera by Phillip Glass.
In 1989, “Relatives”, a performance collaboration with Tony Oursler, was included in the Whitney Biennial and toured in 27 cities in the U.S. and abroad. DeJong & Oursler with musician Stephen Vitiello formed a collaboration to produce “Fantastic Prayers”, a series of performances and audio installations, a website and a CD Rom commissioned by Dia Center for the Arts, 1997-2000.
April 1994,the dedication of a permanent audio work of talking benches was installed at the Woodland Park Zoo in Seattle: “Duets for Animals and People”. Two sets of site-specific talking benches, “Speaking of the River”, for the Thames and Hudson rivers in London and New York were commissioned by Minetta Brook (NYC) and the Public Art Trust (London) for installation in 2000 (Thames) and 2002 (Hudson).
New site-specific audio installations have been commissioned for Bear Mountain Park in New York State, 2003, and for the Engadine region of Switzerland, 2003.
DeJong also received a NEA Literature Fellowship (1976); NYSCA Media Production (1985), NYFA New Genres, (1989). She has received residencies from the Isabella Stewart Gardner Museum, (1995); Alfred University Digital Art Department & Williams College Digital Studio, (1997 & 1995). At present, DeJong is a visiting professor in the art department of Hunter College, CUNY, New York City.
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Gallery hours: weekdays from 10am to 4pm weekends from 1pm - 4pm ( closed holidays)
Electro
mechanical design for Michael Zansky by Mike Connor
on the Arts, a public agency. The Center gratefully acknowledges support from the
County of Rockland, the Town of Clarkstown and The Arts Fund for Rockland, a Project
of the Arts Council of Rockland.
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