Image Employment
MoMA PS1
On view September 5–October 7, 2013
Michael Bell-Smith, Neil Beloufa, Guy Ben-Ner, Ben Thorp Brown, DIS Magazine, Harm van den Dorpel, Daniel Eisenberg, Kevin Jerome Everson, Harun Farocki, Zachary Formwalt, Mark Leckey, Sharon Lockhart, Lumiere Brothers, Lucy Raven, Ben Rivers, Hito Steyerl, Superflex, Pilvi Takala, Ryan Trecartin, Andrew Norman Wilson
Curated by Aily Nash and Andrew Norman Wilson.
See MoMA PS1 website for program details and full screening schedule.
See installation images and excerpts from the works at Contemporary Art Daily.
Image Employment presents recent moving image works that investigate various modes of contemporary production. The selected works illustrate differing approaches to the subject, from observational films that avoid participation in capitalistic image creation, to videos that engage corporate omnipotence by employing its processes, as well as works that complicate these two tendencies.
Many of the films in the exhibition take an oppositional approach to commercial image making. In Kevin Jerome Everson's Quality Control African-American workers from an Alabama dry-cleaning factory are shown relentlessly carrying out their jobs in real time. Everson explores the duration and physicality of labor through a series of lengthy shots that draw attention to particular tasks such as working the pant press or ironing shirts.
Alternately, many video works in this exhibition employ corporate processes and communication by reiterating corporate imagery and intervening into sites of emergent industries and globalized consumption. DIS' Watermarked I Kenzo Fall 2012, for example, arose out of a paid commission for Kenzo's seasonal menswear collection. The work reflexively dramatizes the commercial advertisement form through the absurd excesses of the actors' expressions, the politically correct racial composition, and a stock media infused aesthetic.
Invoking the growing convergence between labor, consumption, and that which propels them, Image Employment examines different ways artists use moving image work to engage and confront contemporary modes of production.
Image Employment
MoMA PS1
On view September 5–October 7, 2013
Michael Bell-Smith, Neil Beloufa, Guy Ben-Ner, Ben Thorp Brown, DIS Magazine, Harm van den Dorpel, Daniel Eisenberg, Kevin Jerome Everson, Harun Farocki, Zachary Formwalt, Mark Leckey, Sharon Lockhart, Lumiere Brothers, Lucy Raven, Ben Rivers, Hito Steyerl, Superflex, Pilvi Takala, Ryan Trecartin, Andrew Norman Wilson
Curated by Aily Nash and Andrew Norman Wilson.
See MoMA PS1 website for program details and full screening schedule.
See installation images and excerpts from the works at Contemporary Art Daily.
Image Employment presents recent moving image works that investigate various modes of contemporary production. The selected works illustrate differing approaches to the subject, from observational films that avoid participation in capitalistic image creation, to videos that engage corporate omnipotence by employing its processes, as well as works that complicate these two tendencies.
Many of the films in the exhibition take an oppositional approach to commercial image making. In Kevin Jerome Everson's Quality Control African-American workers from an Alabama dry-cleaning factory are shown relentlessly carrying out their jobs in real time. Everson explores the duration and physicality of labor through a series of lengthy shots that draw attention to particular tasks such as working the pant press or ironing shirts.
Alternately, many video works in this exhibition employ corporate processes and communication by reiterating corporate imagery and intervening into sites of emergent industries and globalized consumption. DIS' Watermarked I Kenzo Fall 2012, for example, arose out of a paid commission for Kenzo's seasonal menswear collection. The work reflexively dramatizes the commercial advertisement form through the absurd excesses of the actors' expressions, the politically correct racial composition, and a stock media infused aesthetic.
Invoking the growing convergence between labor, consumption, and that which propels them, Image Employment examines different ways artists use moving image work to engage and confront contemporary modes of production.
