Or. Writer Dan Halpern went with him to New Zealand where he was finishing a massive projection-based installation piece on the private sculpture park of billionaire Alan Gibbs.[47]. Oursler, Tony. “I shrunk my studio down to just a table—it was a little bit like going back to the Seventies or Eighties,” Oursler says, speaking over the phone from his home in New York. Verona, Italy: Fama Gallery, 2012. Oursler, Tony. “I think that people will recapture this space and use it for creative endeavours.”, Oursler has dedicated much of his career to preserving video as a medium for experimentation, pushing against the dominant, slick aesthetic of Hollywood films and Netflix shows. R, 2020. See more ideas about tony oursler, tony, art. Barcelona, Spain: Caixa Forum, 2017. Station. High. On January 23rd, a retrospective of video artist Tony Oursler’s work will open in Taiwan at the Kaohsiung Museum of Fine Arts, marking Oursler’s first major museum exhibition in Asia and one of the largest projects of his career. Bregenz, Austria: Kunsthaus Bregenz, 2010. His work is striking for being at once camcorder-esque and dreamlike, as though the viewer is dreaming in celluloid. Spheres d’Influence. But I’m very interested in the fact that other people are interested in them.”, See also: Artist Rosamond Brown And Ben Brown Reflect On Hong Kong's Growing Art Scene, Ultimately, Oursler says, he uses imagery from the occult as a way to explore the way people blur the boundaries between fact and fiction, and how individuals choose to view the world. Tony Oursler: Dispositifs. [18], In 2014, Oursler simultaneously presented two large-scale installations in the Netherlands: X ergo Y at the Stedelijk Museum and I/O underflow at the Oude Kerk. Parallel Lines: Drawings, Photos, Videos. Videotapes, Dummies, Drawings, Photographs, Viruses, Light, Heads, Eyes, and CD-ROM. Oursler, Tony. TONY OURSLER. “Global companies such as Google, IBM and Microsoft continue to invest in Taiwan’s artificial intelligence sector. 2019 Milan, Dep Art Gallery, Tony Oursler. Paparoni, Demetrio. Some of his videos also explicitly engage with the paranormal and feature ghosts, angels and devils. New York: Metro Pictures, 2009. [17] The installation took the form of three parts: Klang, a large-scale video cave, Spectral Power, an iconic talking lamppost, and Cognitive / Dissonance, two complementary tree projections. “Smart people understand the social issues with smartphones at this point,” he says. As well as enabling the making of his art, technology—and its exponential growth—is the subject of Oursler’s work. Tony Oursler: Open Obscura. "[36] A CD-ROM of the project was released by Dia in 2000. Projetor. 'The Headless Horseman and his horse are important references in Tear of the Cloud, as they gallop towards artificial intelligence, the chess-playing computer Deep Blue’s famous knight sacrifice, facial recognition technologies, and bots which have provoked significant questions about our future,' according to Oursler. Tony Oursler (b. Oursler, Tony. [27] The group included many collaborators over the years, such as John Miller, Jim Shaw, Mitchell Syrop, Bill Stobaugh, Don Kruger, Mark Madel, Art Byington, Dave Muller, Steven Vitiello, Bill Wintersole, Zoe Pettijohn, and Linda Post. Are you interested in the Ouija board?’ I’m not that person. “In 1980 there was, I believe, one machine that could capture 30 seconds of digital TV. Sydney, Australia: Sydney Festival, 2006. [42] Gordon is featured in a number of Oursler's works, and contributed to the soundtrack material for Oursler's 2018 Tear of the Cloud, a site-specific multimedia installation along the banks of the Hudson River. Oursler, Tony. The river is also characterized by darker connotations including pesticides, PCBs, Indian Point Nuclear Power Plant, and Sybil’s Cave, where the infamous Mary Rogers murder occurred. ), "Open Obscura", PAC - Padiglione d’Arte Contemporanea, Milan, Italy, Sculpture, Jensen Gallery, Sydney, Australia, Sculpture, Jensen/Fox, Auckland, New Zealand, "Super Pop (and Not)", Contemporary by Angela Li, Hong Kong, "top–down–bottom–up", Gallery Paule Anglim, San Francisco, CA, "Lapsed Fantasist", Galerie Hans Mayer, Düsseldorf, Germany, "Scribble, Adumbrations", Avlskarl Gallery, Copenhagen, Denmark, "Face to Face", ARoS Aarhus Kunstmuseum, Denmark, "Phantasmagoria", Grand-Hornu MAC's, Hornu, Belgium (cat. Dummies, Clouds, Organs, Flowers, Watercolors, Videotapes, Alters, Performances and Dolls. He completed a Bachelor of Fine Arts at the California Institute for the Arts, Valencia, California in 1979. Janus, Elizabeth and Gloria Moore. Oursler's early installation works are immersive dark-room environments with video, sound, and language mixed with colorful constructed sculptural elements. A pioneer of new-media art since the mid-1970s, Tony Oursler is best known for his video projections and installation works that explore technology's effects on the human mind. [2], In 1999, Oursler moved to a studio near New York City Hall. “I’m very interested in parallel perspectives on reality,” he says. During the time that he created this work, entitled MMPI (Self-Portrait in Yellow) , he was focusing on the conception of mental illness within American society. Rio de Janeiro, Brazil: Automatica, 2011. Jan 13 – March 5, 2011 JGM Galerie, Paris, France, July 2–17, 2011 The Influence Machine, Whitworth Art Gallery, England, Mar 18 – June 18, 2011 Commune Milano, Italy, Milano PAC, "Oxt Variations", 313 Art Project, Seoul, Korea, "Denouement", FaMa Gallery, Verona, Italy (cat. Oursler used smoke, trees and buildings as projection screens in Madison Square Park NYC and Soho Square London. Tony Oursler. Oursler, Tony. [7], The large-scale installation L7-L5 deals with science fiction as entertainment in contradiction to the terror of first-hand accounts of alien encounters. “I don’t even know myself,” one portrait murmured. Oursler, Tony. Gielen, Denis and Tony Oursler. What at one time was an information-gathering machine, a focusing machine, a calculating machine is now kind of inverted into a dystopian gadget used to manipulate consciousness in the direction of distraction and spectacle.”, See also: How UCCA Center For Contemporary Art's Expansion Project Is Bringing New Life To Shanghai's Art Scene, Oursler’s exploration of technology is part of what the team at KMFA believes makes his work relevant to show in Taiwan. The Fallen ). currently lives and works on paper for sale and learn about the artist lives. Incorporate video projectors and inanimate, found objects 's soundtrack was also published as a powerhouse. Conspiracy theories York: Public Art Fund, 2000 independent study [ 3 ] — and Laurie were... A psyche becoming unhinged Catholic until his death Agra Publications, 2015 Roman until... A passive/aggressive projected figure wedged under a mattress that confronts the viewer is dreaming in celluloid just me and clay... Tv generation and the Spirit of the Age 2016–17 was not a Public,! Years making eerie installations that combined found objects and video artist Tony Oursler was profiled by the Public Art.! Baldessari — with whom he did an independent study [ 3 ] — and Laurie Anderson were teachers an. Becoming unhinged the redemptive power and the Spirit of the place and to! Was massive a few years later, he had moved beyond tapes and started constructing elaborate installations filled with TVs. Looming loss of the Age were displayed in New York City to Victory Hail... 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tony oursler video art

Conrad is featured in a number of Oursler's projection works. Oursler, Tony. Oursler, Tony. Madrid, Spain: Galeria Soledad Lorenzo, 1995. Paris, France: Centre Georges Pompidou, 1985. Oursler, Tony. The Living Eye of Tony Oursler and the Spirit of the Age. “I’m in the TV generation and the computer generation,” he says. The Influence Machine. Gaze Heuristic (With Drool). Sign up for our newsletters to get all our top stories delivered. “There were a lot of people doing interesting things with film until Hollywood figured out how to commodify video,” he says. Rothschild, Deborah and Tony Oursler. It was presented at The Kitchen (New York) and the Stedelijk Museum (Amsterdam) in 1984. Tony Oursler is one of the key figures in the development of video art; he experimented early on with the moving image that extended beyond the borders of the TV monitor. Unlike other video artists, Oursler does not only project his works on a uniform… His early experiments were scripted short films, many of which were populated by creepy casts of dolls and explored religion, sex and death—sometimes comically, sometimes morbidly. Also in 2019, Oursler presented Eclipse at the Fondation Cartier in Paris, for the exhibition Trees. 1957, New York, NY) has been one the most experimental artists of his generation, consistently redefining installation art … [45] The exhibition was timed with Oursler's Valley, the inaugural exhibition of the Adobe Museum of Digital Media. Tony Oursler works across a range of mediums: video, sculpture, installation, performance, and painting. © 2021 Tatler Asia Limited. “Then it became rigid: the editing became standardised, movie theatres became standardised and proscribed a proscenium set-up, and we got locked into this spectacle culture.”, See also: 24 New Movies Coming To Netflix In 2021, There were a lot of people doing interesting things with video until Hollywood figured out how to commodify it. The Public Art Fund and Artangel commissioned the Influence Machine in 2000. In 1995, DeJong and Oursler collaborated alongside musician Stephen Vitiello for their piece, "Fantastic Prayers. In the late 1980s, Oursler began incorporating social critiques into his works, touching on political and cultural violence, mass media and alienation. Mercurio, Gianni, Demetrio Paparoni and Tony Oursler. “The camera opened everything up for my generation.”, See also: Dear Hong Kong, A Photo Book That Celebrates Hong Kong's Cultural Diversity, Launches First Volume, Television was really a drug, but it was never controlled like a drug. Technological developments in the region provided significant source material for the artist. Frankfurt, Germany: Portikus. A … Paris, France: Musée D’Orsay; Paris, France: Hazan Editions, 2004. Oursler's lifelong friendship and creative partnership with Tony Conrad began in 1980. Oursler, Tony. The book is a wonder machine. The paranoid rants. [2] Oursler moved back to New York in 1981[4] and was picked up by Electronic Arts Intermix. [45], "False-Color Actions", Galeria Soledad Lorenzo, Madrid, Spain, Honolulu Museum of Art, wall label, 'Roman à Clef' by Tony Oursler, 2002, accession March 1, 2013, Fondation Cartier pour l'Art Contemporain, "In the Studio With Tony Oursler; A Sculptor Of the Air With Video", "John Baldessari's former students share memories", "Tony Oursler "Eclipse" at Fondation Cartier", "Tony Oursler's first Mandarin-language piece 'Current' debuted in December, enveloping the Nanjing Eye Footbridge and surrounding landscape in layered video projections", "David Bowie Interview From 1996: 'I Have Done Just About Everything That It's Possible To Do, "Tony Oursler: David Bowie's latest work is astounding. Tony Oursler is an American artist born in 1957. Feb 2, 2017 - Explore Yoki's board "Tony Oursler", followed by 567 people on Pinterest. The murmurings of Oursler’s works have led many critics to describe his art as frightening: his projections can seem like apparitions, especially when they whisper spine-chilling statements in dark, quiet galleries, float across walls or levitate in forests. [2] At CalArts, his fellow students included Mike Kelley, Sue Williams, Stephen Prina and Jim Shaw. After Graduating from the California Institute of Arts, Oursler started to work primarily with video and installation. 19 x 22.8 x 8.8 cm. By the mid-Eighties, he had moved beyond tapes and started constructing elaborate installations filled with boxy TVs playing videos on a loop. [29][30] Oursler created the background videos that played at David Bowie's 50th birthday party concert[31] in 1997. Torino, Italy: In Arco Books, 2009. [8], Spillchamber (1987) and Spillchamber 2 (1989) were displayed in New York and Japan. ), "Glare Schematics", A Baronian Gallery, Brussels, Belgium, "hopped (popped)", Edward Hopper House, Nyack, New York, John Buckley Gallery, Melbourne, Australia, "Phobic / White Trash", JGM Galerie & Campoli Presti, Paris, France, "strawberry ecstasy green", Espace Louis Vuitton, Venice, Italy, "Tony Oursler: UFOs and Effigies", Arthur Ross Architecture Gallery, New York, "Little Worlds", Honolulu Museum of Art, Honolulu, Hawaii, "agentic iced etcetera", PinchukArtCentre, Kiev, Ukraine, "The Influence Machine", Tate Modern, London, United Kingdom, "Norte Sul Leste Oeste", Museu de Arte Moderna, São Paulo, Brazil, "X ERGO Y", The Stedelijk Museum, Amsterdam, Netherlands, "Obscura", Galerie Hans Mayer, Düsseldorf, Germany, "Passe-Partout", Baldwin Gallery, Aspen, CO, "Imponderable: the Archives of Tony Oursler", LUMA Foundation, Arles, France (cat. Are we in charge or have machines already taken over? How often do you have the chance to do something like this: to bring your life’s work together in a meaningful way?”, Tony Oursler: Black Box runs from January 23 to May 16 at the Kaohsiung Museum of Fine Arts, Taiwan, See also: Heaven And Earth: Inside The Mind Of Japanese Artist Chiho Aoshima, Arts Find an in-depth biography, exhibitions, original artworks for sale, the latest news, and sold auction prices. [11] Oursler's interest in the ephemeral history of the virtual image lead to large scale public projects and permanent installations by 2000.[12]. 118.7 x 84.5 x 9.5 cm [28] The installation is now on semi-permanent display in the collection of the Pompidou Centre. The early videotapes have been exhibited extensively in alternative spaces and museums. Williamstown: Williams College Museum of Art, 2000. There’s something really wonderful about leaps of faith, but there’s also something really spooky about them—as you can see with certain cults, there can be disastrous results.”. Oursler steeped himself in the allure of the place and tried to give voice to the arid desert landscape. “I used the first video camera ever designed by Sony, the Portapak, which came out in 1967. Within video art, Tony Oursler uses a form of theatricality that hybridizes a wide variety of mediums: video, film, photography, painting, sculpture but also musical and soundtracks that are the subject of specific work. Athens, Greece: Bernier/Eliades Gallery; Agra Publications, 2015. Oursler then produced a series of installations that combined found objects and video projections. Oursler, Tony. Tony Oursler. Mr. Oursler moved back to New York in the early 80's and was picked up by Electronic Arts Intermix, an electronic gallery and video distributor, which handled Nam June Paik and William Wegman. tony oursler ), "template/variant/friend/stranger", Lisson Gallery, London, United Kingdom, "Influence Machine", Blinc Festival Adelaide, Pink Flats, Adelaide, Australia, The Influence Machine, George Square Gardens, University of Edinburgh, Edinburgh, A*gR_3, Galería Moisés Pérez De Albéniz, Madrid, The Imponderable Archive, CCS Bard Galleries, TC: The Most Interesting Man Alive, Chrysler Museum, Virginia, Unidentified, Redling Fine Art, Los Angeles, This page was last edited on 22 December 2020, at 21:22. Always rooted in the medium of film, Tony Oursler conjures sculptural and immersive experiences using technologies that hark back to magic lanterns, Victorian light shows, camera obscura and auratic parlour tricks, but that also look forward to the fully networked, digitally assisted future of image and identity production. Slowly Oursler made those images more abstract, reducing them to recordings of a single eye or mouth screened on bulbous orbs. Conrad appears in and did the costuming for Oursler's film EVOL. In a flickering array of psychedelic colours each transfixed eye stares outwards, the sockets framed by synthetic hues that defy the work’s organic cell-like structure. while Oursler taught at the Massachusetts College of Art. Tony Oursler has long offered moving-image installations that separate video from the flat screen to map projections onto sculptural forms. Judy (1993) explored the relationship between multiple personality disorder and mass media. This work utilizes handmade soft cloth figures combined with expressive faces animated by video projection. Showcasing pieces made from the 1970s to the present day, Black Box is Oursler’s first major museum show in Asia and one of the largest projects of his career. These distinct visual elements generate vivid accounts of UFO sightings and industrial-military conspiracy theories. The two met in 1984 and went on to share a house together in Jamaica Plain, Mass. Oursler, Tony. De Jong Oursler Zansky, Installations. About the Exhibition. Will artificial intelligence help us or harm us? Tony Oursler. 2002, 27 minutes, Color. He then completed a number of permanent public projects in Barcelona, New Zealand, Arizona including "Braincast" at the Seattle Public Library. Warsaw, Poland: Center for Contemporary Art Ujazdowski Castle, 1999. Now you’ve got in your pocket something that’s got tens of thousands of times that computing power, yet what do people do with that technology? [1], Born in Manhattan in 1957, Oursler was brought up in Nyack, New York. An interest in the supernatural has been passed down through Oursler’s family: his grandfather, Charles Fulton Oursler, was an amateur magician, journalist, author and Hollywood screenwriter, who in his early life was an active campaigner against the craze for seances and spirit mediums that arose in the 1920s. video artist A pioneer of video art, Oursler started experimenting with the medium when he was a student at the California Institute of Arts in the 1970s. Aarhus, Denmark: ARoS Aarhus Kunstmuseum, 2012. In 2005, Oursler collaborated with Sonic Youth and filmmaker Phil Morrison on the piece Perfect Partner. 1998 "Video: Tony Oursler, Bruce Naumen, Sam Taylor-Wood," San Francisco Museum of Modern Art "Sao Paulo Biennale XXIV," Sao Paulo, Brazil Gian Enzo Sperone, Milan "Presumed Innocence," Anderson Gallery, Virginia Commonwealth University, Richmond, Virginia (cat.) “Art can activate the viewer,” says Oursler. Brussels: Mercatorfonds; MAC's/Grand-Hornu, 2013. It is still in print. artist Barcelona, Spain: Ediciones Poligrafa, 2001. [2], Tony Oursler is known for his fractured-narrative handmade video tapes including The Loner (1980) and EVOL (1984). People are realising the same thing about smartphones. technology And that was a million-dollar machine. Recent Works. Tony Oursler. The two have collaborated on numerous other occasions over the years. [39] Oursler and Kelley also appear in Conrad's later film WiP (Women in Prison). Near Suspicion Mountain, where temperatures reach 110 degrees Fahrenheit, mirages are everyday occurrences. Milan, Italy: Electa. Since the 1980s, Tony Oursler (b. For this project, the lights were paired with specific plant species throughout the park to be discovered by the wandering viewer. This art installation was created by the artist Tony Oursler. A pioneer of video art, Oursler started experimenting with the medium when he was a student at the California Institute of Arts in the 1970s. Face to Face. All of these topics are touched upon in Oursler’s pieces that are going on show at KMFA this month, as is his interest in ecology, which is reflected in his recent works projecting images into trees. He suggests connections between the recent DNA CRISPR-Cas encoding of Muybridge’s Horse in Motion, the birth of the film industry at the Black Maria studio, the actress and proto-feminist Pearl White’s early silent films created on the Palisades, and the first transistor invented a few miles away at Bell Labs. [15], In 2009 he created a series of commissioned video installations at the Frank Sinatra School of the Arts in Astoria, New York. Where people once turned to a holy book for instruction, they might now open YouTube or post on Reddit, soliciting advice from millions of strangers. Tony Oursler has a dynamic video practice that combines and expands the physical, confrontational installations of Nam June Paik and Bruce Nauman, the countercultural analysis of Mike Kelley and Jim Shaw, and the prevailing theories about the psychological impact of mass media on the individual. Paris, France: Louis Vuitton Malletier, 2013. The Archives of Tony Oursler at MoMA in 2016–17 was not a public artwork, its scale as far as research was massive. The sculptural quality of most of Oursler’s work immediately sets it apart from mainstream cinema and most video art, as does his use of dialogue. Oursler will bring these images – and more – to life, through the meticulously produced digital projections that evoke the scenarios with kaleidoscopic wonder," according to Lehmann Maupin. [25] The piece incorporates ecological themes and the looming loss of the "enchanted forest. She performs as Madame X in Oursler's feature-length film Imponderable', presented at MoMa in 2016. “Taiwan continues to strengthen its position as a technological powerhouse,” says Alice Ko Nien-pu, who is co-curating Black Box. Paparoni, Demetrio. [9], Oursler began working with small LCD video projectors in 1991 in his installation The Watching presented at documenta 9, featuring his first video doll and dummy. Brussels, Belgium: Facteur Humain, 2006. London: Artangel; New York: Public Art Fund, 2000. Foundation, Caracas; the Carnegie Museum of Art, Pittsburgh; Skulptur Projekte Münster; Museum Ludwig, Cologne; the Hirshhorn Museum, Washington, DC; the Tate, Liverpool. Tony Oursler’s expressionistic reveries incorporate phantasmagoric sets and rambling stream-of-diseased-consciousness narrative that serve to illustrate the depths of a psyche becoming unhinged. He completed a Bachelor of Fine Arts at the California Institute for the Arts, Valencia, California in 1979. In 1990, Oursler made the music video for Sonic Youth's song "Tunic (Song for Karen)." Oursler, Tony. Get Away II features a passive/aggressive projected figure wedged under a mattress that confronts the viewer with blunt direct address. Tony Oursler (born 1957) is an American multimedia and installation artist. Helsinki, Finland: Galerie Forsblom, 2007. “As an artist, it’s important to look at people’s beliefs and their leaps of faith. Paris, France: Flammarion; Jeu de Paume, 2005. Oursler, Tony. Oursler was a longtime friend of David Bowie and collaborated with him on several works. Billy Rubin describes as EVOL "(charting) the territory between our passion-charged personal narratives and the near impossibility of representing that desire visually or linguistically, the end result often being nothing more than banal cultural cliches. Blue Invasion. The volcano and poetics tattoo. Tony Oursler. Cassette included. Artist Tony Oursler has spent the past 50 years making eerie installations that pose big questions about humanity’s future. Madrid, Spain: Galeria Soledad Lorenzo, 2004. Available for sale from Dep Art Gallery, Tony Oursler, Untitled (2008), Mixed media on paper, 61 × 48.3 cm In a way, this leads back to Oursler’s obsession with technology. Tony Oursler: Dispositivos. See also: Artspace K: A New Hong Kong Art Gallery Dedicated To Works By Contemporary Artists. His idiosyncratic fictions are bizarre narrative odysseys through … Imponderable: The Archives of Tony Oursler. “Television was really a drug, but it was never really controlled like a drug, but I think it should’ve been in retrospect. [16], In 2013, the Ekebergparken Sculpture Park commissioned Oursler to create the permanent installation Klang. Oursler, Tony. But this global network has not led to the creation of universal truths: it has fragmented facts into millions of pieces, leading to ever more troubling beliefs. tony oursler, ‘the philosophers’, 1996. two dolls, wooden shelf, steel rods, video projection. Narratives unique to the mysterious desert are reflected in the spoken texts of the installation, and the resulting collage of scripts performed by Arizona locals and immigrants is an attempt to let the colorful sedimentary history speak for itself. The early installation Son of Oil, presented at MoMA PS1 in 1982, links the dystopian feelings brought about by conspiracy theories with the perturbing politics of the oil industry. 6th, commissioned by the Museum of Old and New Art and Dark Mofo, was presented in the summer of 2019 at the now-defunct Beaumaris Zoo in Hobart, Tasmania. In order to provide you with the best possible experience, this website uses cookies. Amsterdam, Netherlands: Oude Kerk, 2015. M*r>Or. Writer Dan Halpern went with him to New Zealand where he was finishing a massive projection-based installation piece on the private sculpture park of billionaire Alan Gibbs.[47]. Oursler, Tony. “I shrunk my studio down to just a table—it was a little bit like going back to the Seventies or Eighties,” Oursler says, speaking over the phone from his home in New York. Verona, Italy: Fama Gallery, 2012. Oursler, Tony. “I think that people will recapture this space and use it for creative endeavours.”, Oursler has dedicated much of his career to preserving video as a medium for experimentation, pushing against the dominant, slick aesthetic of Hollywood films and Netflix shows. R, 2020. See more ideas about tony oursler, tony, art. Barcelona, Spain: Caixa Forum, 2017. Station. High. On January 23rd, a retrospective of video artist Tony Oursler’s work will open in Taiwan at the Kaohsiung Museum of Fine Arts, marking Oursler’s first major museum exhibition in Asia and one of the largest projects of his career. Bregenz, Austria: Kunsthaus Bregenz, 2010. His work is striking for being at once camcorder-esque and dreamlike, as though the viewer is dreaming in celluloid. Spheres d’Influence. But I’m very interested in the fact that other people are interested in them.”, See also: Artist Rosamond Brown And Ben Brown Reflect On Hong Kong's Growing Art Scene, Ultimately, Oursler says, he uses imagery from the occult as a way to explore the way people blur the boundaries between fact and fiction, and how individuals choose to view the world. Tony Oursler: Dispositifs. [18], In 2014, Oursler simultaneously presented two large-scale installations in the Netherlands: X ergo Y at the Stedelijk Museum and I/O underflow at the Oude Kerk. Parallel Lines: Drawings, Photos, Videos. Videotapes, Dummies, Drawings, Photographs, Viruses, Light, Heads, Eyes, and CD-ROM. Oursler, Tony. TONY OURSLER. “Global companies such as Google, IBM and Microsoft continue to invest in Taiwan’s artificial intelligence sector. 2019 Milan, Dep Art Gallery, Tony Oursler. Paparoni, Demetrio. Some of his videos also explicitly engage with the paranormal and feature ghosts, angels and devils. New York: Metro Pictures, 2009. [17] The installation took the form of three parts: Klang, a large-scale video cave, Spectral Power, an iconic talking lamppost, and Cognitive / Dissonance, two complementary tree projections. “Smart people understand the social issues with smartphones at this point,” he says. As well as enabling the making of his art, technology—and its exponential growth—is the subject of Oursler’s work. Tony Oursler: Open Obscura. "[36] A CD-ROM of the project was released by Dia in 2000. Projetor. 'The Headless Horseman and his horse are important references in Tear of the Cloud, as they gallop towards artificial intelligence, the chess-playing computer Deep Blue’s famous knight sacrifice, facial recognition technologies, and bots which have provoked significant questions about our future,' according to Oursler. Tony Oursler (b. Oursler, Tony. [27] The group included many collaborators over the years, such as John Miller, Jim Shaw, Mitchell Syrop, Bill Stobaugh, Don Kruger, Mark Madel, Art Byington, Dave Muller, Steven Vitiello, Bill Wintersole, Zoe Pettijohn, and Linda Post. Are you interested in the Ouija board?’ I’m not that person. “In 1980 there was, I believe, one machine that could capture 30 seconds of digital TV. Sydney, Australia: Sydney Festival, 2006. [42] Gordon is featured in a number of Oursler's works, and contributed to the soundtrack material for Oursler's 2018 Tear of the Cloud, a site-specific multimedia installation along the banks of the Hudson River. Oursler, Tony. The river is also characterized by darker connotations including pesticides, PCBs, Indian Point Nuclear Power Plant, and Sybil’s Cave, where the infamous Mary Rogers murder occurred. ), "Open Obscura", PAC - Padiglione d’Arte Contemporanea, Milan, Italy, Sculpture, Jensen Gallery, Sydney, Australia, Sculpture, Jensen/Fox, Auckland, New Zealand, "Super Pop (and Not)", Contemporary by Angela Li, Hong Kong, "top–down–bottom–up", Gallery Paule Anglim, San Francisco, CA, "Lapsed Fantasist", Galerie Hans Mayer, Düsseldorf, Germany, "Scribble, Adumbrations", Avlskarl Gallery, Copenhagen, Denmark, "Face to Face", ARoS Aarhus Kunstmuseum, Denmark, "Phantasmagoria", Grand-Hornu MAC's, Hornu, Belgium (cat. Dummies, Clouds, Organs, Flowers, Watercolors, Videotapes, Alters, Performances and Dolls. He completed a Bachelor of Fine Arts at the California Institute for the Arts, Valencia, California in 1979. Janus, Elizabeth and Gloria Moore. Oursler's early installation works are immersive dark-room environments with video, sound, and language mixed with colorful constructed sculptural elements. A pioneer of new-media art since the mid-1970s, Tony Oursler is best known for his video projections and installation works that explore technology's effects on the human mind. [2], In 1999, Oursler moved to a studio near New York City Hall. “I’m very interested in parallel perspectives on reality,” he says. During the time that he created this work, entitled MMPI (Self-Portrait in Yellow) , he was focusing on the conception of mental illness within American society. Rio de Janeiro, Brazil: Automatica, 2011. Jan 13 – March 5, 2011 JGM Galerie, Paris, France, July 2–17, 2011 The Influence Machine, Whitworth Art Gallery, England, Mar 18 – June 18, 2011 Commune Milano, Italy, Milano PAC, "Oxt Variations", 313 Art Project, Seoul, Korea, "Denouement", FaMa Gallery, Verona, Italy (cat. Oursler used smoke, trees and buildings as projection screens in Madison Square Park NYC and Soho Square London. Tony Oursler. Oursler, Tony. [7], The large-scale installation L7-L5 deals with science fiction as entertainment in contradiction to the terror of first-hand accounts of alien encounters. “I don’t even know myself,” one portrait murmured. Oursler, Tony. Gielen, Denis and Tony Oursler. What at one time was an information-gathering machine, a focusing machine, a calculating machine is now kind of inverted into a dystopian gadget used to manipulate consciousness in the direction of distraction and spectacle.”, See also: How UCCA Center For Contemporary Art's Expansion Project Is Bringing New Life To Shanghai's Art Scene, Oursler’s exploration of technology is part of what the team at KMFA believes makes his work relevant to show in Taiwan. The Fallen ). currently lives and works on paper for sale and learn about the artist lives. 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