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Courtesy of
PLAXALL
LONG ISLAND CITY
OCTOBER 2017
The Sculpture Center
Museum of the Moving Image
MOMA PSI
The GIF Elevator
Ongoing
22-25 Jackson Ave • LIC
718.784.2084 • MoMAPS1.org
35 Ave at 37 St • Astoria
718.777.6800 • www.movingimage.us
44-19 Purves Street · LIC
718.361.1750 • www.sculpture-center.org
The GIF has become the subject of an unlikely series of
reinventions since its introduction in 1987 as a data format. Today
the GIF is an important site of cultural and artistic expression, an
established and pervasive moving image form dened in part by
silence, brevity, shareability, and most importantly, the loop. The
GIF Elevator features newly commissioned GIFs by six artists,
animators, and illustrators who represent some of the most
important and inuential GIF makers working today: Mr. Div
(Matthew DiVito), Dain Fagerholm, Render Fruit (Clara Luzian),
Lorna Mills, Paul Robertson, and Raa Santana. Their practices
represent a sample of the extraordinary breadth and diversity of
the contemporary GIF. Each artist will create four original GIFs that
will be presented on the walls and ceiling of the Museum’s
elevator, an exhibition environment that oers a unique and
intimate encounter with the work. Each installation will be on
view for two months; the GIFs will also be published on Giphy.com
to coincide with the opening of each installation.
Kelly Akashi is a Los Angeles-based artist working in sculpture and
photography, often using materials like wax, glass, bronze, light, and
air to emphasize time and ephemerality. Akashi's exhibition at
SculptureCenter marks her rst solo institutional presentation and
includes new works commissioned for the lower level galleries
incorporating large and mid-scale glass forms. The exhibition also
includes photograms that capture impressions of selected objects,
revealing their internal structures.
Throughout Akashi's work, glass forms are often placed in
combination with other objects, such as candles and lost-wax bronze
casts. Akashi displays these diverse elements within specically
designed structures, creating elaborate tableaus. Her arrangements
suggest abstracted narratives of use and explore relationships
between dierent forms and materials. For her exhibition at
SculptureCenter, Akashi continues her exploration into specic
connections between air and re -- two elements necessary to
produce her glass works -- by periodically lighting wax candles
within her installations, altering the appearance of the works over
time. Energetic and alchemical transformations of material are
central to her work: the objects comprising Akashi's sculptures are
physical manifestations of the intangibility of a breath of air or a
burst of ame.
MoMA PS1 presents the rst comprehensive retrospective of Carolee
Schneemann, spanning the artist’s prolic six-decade career. As one of the
most inuential artists of the second part of the 20th century, Schneemann’s
pioneering investigations into subjectivity, the social construction of the
female body, and the cultural biases of art history have had signicant
inuence on subsequent generations of artists. Carolee Schneemann: Kinetic
Painting begins with rarely seen examples of the artist’s early paintings of the
1950s and their evolution into assemblages made in the 1960s, which
integrated objects, mechanical elements, and modes of deconstruction. In the
late 1960s Schneemann began positioning her own body within her work,
performing the roles of “both image and image-maker.” As a central
protagonist of the New York downtown avant-garde community, she
explored hybrid artistic forms culminating in experimental theater events.
The exhibition considers Schneemann’s oeuvre within the context of painting
by tracing the developments that led to her groundbreaking innovations in
performance, lm, and installation in the 1970s, as well as her increasingly
spatialized multimedia installations from the 1980s, 1990s, and 2000s.
EXHIBITION
September 18 - December 18, 2017
Kelly Akashi: Long Exposure
Carolee Schneemann: Kinetic Painting
October 22, 2017–March 11, 2018
