Jan. 14, 2023 - June 17, 2023
Assistant Curator: Ofra Lapid
Courtesy of the LeRoy Neiman Center for Print Studies in the School of the Arts at Columbia University, New York
Participants: David Altmejd, James Stuart Blackton, Trenton Doyle Hancock, Buckminster Fuller, Elliot Green, Ben Hagari, Jasper Johns, Joan Jonas, William Kentridge, John Kessler, Dr. Lakra, Ofra Lapid, Len Lye, Lothar Meggendorfer, Jonas Mekas, Lotte Reiniger, Aki Sasamoto, Dasha Shishkin, Shahzia Sikander, Kiki Smith, Sarah Sze, Rirkrit Tiravanija, Tomas Vu-Daniel, Kara Walker, George Weinberg, and Terry Winters
The exhibition On Point is a result of an ongoing personal exploration of the history and mechanisms of moving images. Early moving images, prior to the invention of the film camera, were works on paper created through printmaking. Alongside historical works from archives, collections, and libraries, the exhibition features contemporary prints from the collection of the LeRoy Neiman Center for Print Studies at Columbia University, New York. The collection is founded on inviting artists to develop their projects in the printshop, using various techniques of printmaking. These works on paper were selected for their conceptual affinity with the moving image, examining how these relate to each other.
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The exhibition includes etchings, collages, engravings, movable books, peepholes, silhouettes, films, animation, and new video works. A wiggly or dancing line emerges from the pieces into the space and vice versa, linking together the various exhibition rooms. The line that “comes alive” follows the movement of the drawing hand like an act of magic. The exhibition blurs the distinction between humans and things, between objects and their users, and between live action and animation, and considers hand-made moving images as a theme, a form, and a worldview. Accordingly, historical works are presented in theatrical environments that seem to project the space of early cinema outside itself, much as the visible world is projected within the brain from information passed through the eye holes.
The exhibition aims to endow objects with individual life and voice. My new film I, Pencil depicts a pencil that rises up like a string puppet, to embody the gestures of an invisible hand. The pencil is a basic object that one familiarizes with at an early age, and allows for written expression and the creation of signs in the world. At a time of handwriting’s rapid disappearance, this exhibition begs the necessity of creating things by hands, of idiosyncratic production and work born from dreams.
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