#ed halter

[contemporaryartdaily]

New Red Order at Artists Space

[endlessandrea]

The Otolith Group in conversation with Ed Halter

[whileiamdying]

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An inspiring development during the pandemic has been watching people pull together to help one another and especially those hit hardest. One such effort was the Cinema Worker Solidarity Fund, which raised nearly $80,000 in 10 days for out-of-work movie theater employees. For our latest edition of The Film Comment Podcast at Home, Film Comment Editor-in-Chief Nicolas Rapold caught up with programmer-critics Ed Halter and Nellie Killian, who spearheaded the Cinema Worker Solidarity Fund alongside Thomas Beard and filmmaker Sierra Pettengill. Halter, a critic in residence at Bard College, is also co-curator of Light Industry with Thomas Beard, and Killian is a contributing editor of Film Comment. Halter and Killian last appeared together on an incredible podcast talking about Projections, the experimental film slate of the New York Film Festival. This time, the three talked about the effects of the crisis on how we watch movies, what we’ve been watching, and the interesting overlaps between our ultra-mediated existence and experimental cinema. Films discussed include Claude Lanzmann’s Shoah, Listen to Britain, Fail Safe, The Day After, and more.

[aftertigers]

These close-up and candid moments have now become the currency of a new economy of images that’s very different from the spectacularity of earlier generations, which operated more along the lines of a studio-to-broadcast model. Images people took on their own phones were reblogged along with stuff from the New York Times or MoMA’s own press photos. Abramović and Lady Gaga rose to prominence around the same time, with the same logic, in that regard at least. It’s like Pop Art in reverse: Warhol took the content of mass culture and brought it into art, while they’re using “art” as content and spreading it through contemporary forms of mass media—but really they’re only producing a new form of kitsch, complete with mawkish sentimentality.

"Mass Effect" by Lauren Cornell and Ed Halter

[dignityandtenderness]

Ed Halter: What was it like going from the Bronx to San Francisco?

George Kuchar: It was nice. They liked my buttocks. You know, sometimes areas, they get attracted to different things. If you feel like you're too fat, go to an area that likes that kind of fat thing.

Little Joe No. 3

[ctsart-blog]

CTS #art musing | "The Rematerialization of Art"

As I was preparing the text for an upcoming exhibition, I came across an article on rhizome.org entitled,  The Rematerialization of Art (2008) by Ed Halter. In it, he spoke about “new media art”,  and suggested that in conversations with curators Yves Bernard and Domenico Quaranta, they deemed all “contemporary art” a form of “new media art”, however, from the point of view of the artist that creates “new media art”, they see it simply as, “just art”. 

In the past, there were many divisions between “new media art” or “net art”, as opposed to more traditional art forms. The most challenging of the divisions was the inability to fully “own it”; to be able to understand how one holds these virtual bits for any amount of sustainable time. Anyone familiar with rhizome’s mission understands the challenge it faces in archiving new media works on a stable platform. The platform itself is a new media artwork, as it must remain nimble enough through any variety of technological leaps from the early days of 0s and 1s , and well into our cyber cloud like future. However, to return to my point, within the traditional art market, the technology itself did in fact create barriers, perceived or real, which seriously challenged the acquisition of these works despite the fact that it was consider by the artist “just art”.  Fast forward to 2008, when the article was presented, Halter then links the advancement of the commercial tech market to the advancement of the art market, in that the tech market began creating accessible price points for the equipment. “Flat-screen monitor, the digital print, and the edition DVD”,  then transcendentally made “new media art” into “just art”. The ephemeral became tangible. A dematerialized item became a materialize object.  All this is quite interesting and perhaps to some in 2012, it's seemingly obvious, as the market has fully embraced this concept. Good thing that is not my focus. What caught my eye was a post in the comment section by Pall Thayer, a lecturing professor and a new media artist himself who authored the following witty quip. 

“The de-materialization of art is one of the biggest hurdles that the art-world has had to deal with for quite some time and those challenges haven’t been resolved yet. Or is this the resolution? Pretending that the immaterial is material by packaging it with hardware. The art is still immaterial. Isn’t it a bit like buying a bottle of “nothing” and calling it something because it  came with a bottle?” Within this framework I’d like to announce, The Rematerialization of the Art Object, by Brooklyn based artist, Eric Doeringer. Opening on October 12th (6-10pm) and running through Nov. 10th at the Mulherin + Pollard Gallery in the Lower East Side. 

  -Lynn del Sol

[nyrbclassics]

Store of the Worlds in Bookforum

...Sheckley’s work is unabashed termite art. He illuminates standard sci-fi’s cutout characters and quasi-magical contraptions with a hallucinatory, Technicolor vibrancy, spinning yarns more fabulist than plausible, banged out as permutations of his own pet obsessions, among them mind control, extraterrestrial psychology, and the cruelties of love. Writing in 1956, his contemporary Damon Knight criticized 'the stripped quality of his . . . work, and its utter divorcement from fact and logic'—aspects that today read more like pleasurably conscious choices than defects. And indeed, Knight conceded that, 'like it or not, what Sheckley does is art.'

—Ed Halter reviews Robert Sheckley's Store of the Worlds in the current issue of Bookforum. If you think the prose of the review is weird and wonderful, you should check out Sheckley's stories.

[whitneymuseum]

"It’s a time when, increasingly, visual artists are working with film and video, and drawing upon the codes, conventions, and visual grammar of documentary, or narrative cinema. It makes sense that you think about these things together."

2012 Biennial film program co-curators Thomas Beard and Ed Halter talk to BOMB Magazine. 

Photographs by Braden King. Copyright Braden King, 2012