From: Roddy, Bernard P. (email suppressed)
Date: Sat Mar 28 2009 - 14:13:28 PDT
Caroline Koebel, In Person
Thursday, April 2, 7:00 p.m.
School of Art and Art History, Rm 205
University of Oklahoma
We are extremely excited to have Caroline Koebel present and discuss her work at the University of Oklahoma. The program includes:
Berlin Warszawa Express (2006, 19:50, color, miniDV)
ReAction: "From the Portfolio of Doggedness" (2003, 3:30, sound, miniDV)
hole or space (2006, 3:23, silent, b&w/color, collage film)
Grand Central/Central Terminal (2008, 5:50, sound, color, miniDV)
Repeat Photography and the Albedo Effect, Part 1 of Flicker On Off (2008, 8:12, sound, b&w, 16 mm to digital)
Sunroof (Benazir Bhutto Assassination), Part 2 of Flicker On Off (2008, 6:10, sound, b&w/color, 16 mm and web to digital)
All the House (Haditha Massacre), Part 3 of Flicker On Off (2008, 5:50, sound, b&w/color, 16 mm and web to digital)
Assistant Professor of Media
School of Art and Art History
520 Parrington Oval
University of Oklahoma
Norman, OK 73019
Addendum: Irigaray's marine lover video essayist to Nietzsche's prophetic experimental film artist, Koebel's work gives stylistic expression to the feminist refusal of logocentrism. With this event the media program within the School of Art and Art History at the University of Oklahoma announces its commitment to a critically engaged tradition of image analysis and production. Koebel's art retains the essential connection between feminist performance and experimental film, between having something to say and taking pleasure in the visual. While exploring the changing meanings of cinema and video in contemporary artistic practice, the media program wants to extend the reach of avant-garde film criticism into the discourses of art herstory and trouble again the comfort zone of hegemonic practice. Looking to the work of Catherine Elwes, Laura U. Marks, and now Amelia Jones, whose recent book Self/Image (Routledge, 2006) adds her research on body art to Marks' reflections o!
n intercultural cinema, we see in Koebel a leader in film/video's critical capacity to articulate under risk. In an early essay published in Performing the Body/Performing the Text (Routledge, 1999), coedited with Andrew Stephenson, Jones argues that art criticism has been fundamentally altered by the theatricality of art since minimalism. This shift also signals a new approach to film/video practice, one marked by creative written practices. Artist and critic can no longer distinguish one another. In this respect as well, Koebel stands as a model, engaged not simply in a writerly production, but also in an artistic writing. Finally, as opportunities for exhibition dwindle, changes in one's practice to satisfy decision-making is to be rejected in favor of articulating, in whatever medium available, what exactly is at stake. We are excited to be holding the Koebel event not in the university art museum auditorium but in the School of Art and Art History's primary class!
room, signifying a living practice subject to critical discussion amon
gst students and creators of ideas. We want to join forces with Canadian critics Mike Hoolboom, Steve Reinke, and Daniel Cockburn, the Evolutionary Girls Club of Erica Eaton in upstate New York, collectives like Artist's Television Access on the west coast, Syracuse's Brett Cashmere, editor of the online journal Incite!, and anyone else who seizes an avant-garde heritage not as a given or a debt but as a becoming, in audacity and always without precedent. We aim to formulate, to quote Malcolm Le Grice in David Curtis' A History of Artist's Film and Video in Britain (BFI, 2007), "the history we need." (p. 31)
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.