News: Day Four, Miami Art Fairs: As the image moves / Newcity Newspaper

Problems in video art curation, evolving technologies and copyright laws

Omer Fast, "Looking Pretty for God (after G.W.)," 2008

Omer Fast, “Looking Pretty for God (after G.W.),” 2008

It’s still hard to justify the expenses of technology—and the necessary viewer attention—needed for displaying video art, especially at fairs where each tiny booth must compete with thousands of others. Most galleries don’t want to take the video art risk except, perhaps, Postmasters Gallery (PULSE Art Fair), where owner Magdalena Sawon included Omer Fast’s “Looking Pretty for God (after G.W.)” (2008), Guy Ben-Ner’s “Second Nature” (2005) and Katarzyna Kozyra’s “Don’t Cry Honey, They are Evil They are Men” (2008)—more video than I saw at any booth. Conversely, in a conversation with Jack the Pelican owner Don Carroll (showing at SCOPE), the dealer asserted that including one video in a show actually took attention away from other, perhaps more easily sellable, pieces. Then again, ShanghART Gallery, showing at Art Basel, took up an entire wall with Yang Zhenzhong’s five-channel video “I Will Die” (2000-2005), which showed at the 2007 Venice Biennial, and Donald Young Gallery displayed four 2008 Gary Hill videos arranged as a four-channel piece (“Up Against Down” [right hand], “Up Against Down” [face], “Up Against Down” [back/torso], and “Up Against Down” [left foot]). Likewise, Peres Projects (Berlin) sectioned off a viewing space for a Paul Lee video, as did König Gallery (Berlin) for Jordan Wolfson’s “untitled false document” (2008).

Read the full story on Newcity:

Continue on to Eye Exam: Chicago in Miami: