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Journal articles on the topic 'Tony Oursler'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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1

Oursler, Tony. "The Uncanny World of Tony Oursler." PAJ: A Journal of Performance and Art 33, no. 2 (May 2011): 36–42. http://dx.doi.org/10.1162/pajj_a_00036.

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2

Horowitz, Gregg M. "Absolute Bodies: The Video Puppets of Tony Oursler." Parallax 16, no. 2 (May 2010): 95–106. http://dx.doi.org/10.1080/13534641003634721.

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3

Malt, Johanna. "The Blob and the Magic Lantern: On Subjectivity, Faciality and Projection." Paragraph 36, no. 3 (November 2013): 305–23. http://dx.doi.org/10.3366/para.2013.0096.

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Through an examination of Proust's ‘magic lantern’ scene from the opening of A la recherche du temps perdu, alongside the work of the contemporary installation artist Tony Oursler, this article takes projection as a means of exploring the relationship between subjectivity and embodiment. Reading them in conjunction with Deleuze and Guattari's concept of ‘faciality’, I argue that Oursler's installations, combining performance, sculpture and video art, explore the fate of the body subjected to signification and can be described as ‘tragedies of faciality’. At the same time, anchored as they are in material relations, they are unable to detach the subject from the limits of the body in the radical way Proust can, via a literary account of projection which is, I argue, doubly virtual.

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4

Leal, João Vitor Resende. "O olhar desencarnado: jogos de máscaras no cinema de ficção científica." Galáxia (São Paulo), no. 39 (December 2018): 72–87. http://dx.doi.org/10.1590/1982-255435362.

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Resumo Este artigo busca refletir sobre o trabalho do ator a partir de personagens androides no cinema de ficção científica. Discutiremos como o recorrente motivo do desmascaramento do androide coloca em questão o rosto e o olhar humanos. De A clever dummy (1917) a Blade Runner 2049 (2017), examinaremos algumas das estratégias narrativas e estéticas que transformam o ator em personagem-máquina, atentando também para possíveis origens da figura do androide na cultura ocidental e para alguns de seus desdobramentos na obra dos artistas Otávio Donasci, Tony Oursler e Denis Marleau.

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5

Conrad, Tony. "Who Will Give Answer to the Call of My Voice? Sound in the Work of Tony Oursler." Grey Room 11 (April 2003): 44–57. http://dx.doi.org/10.1162/15263810360661426.

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6

Lønstrup, Ansa. "Facing sound – voicing art." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 3, no. 1-2 (December 1, 2013): 153–71. http://dx.doi.org/10.7146/se.v3i1-2.15646.

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This article is based on examples of contemporary audiovisual art with a primary focus on the Tony Oursler solo exhibition Face to Face in Aarhus Art Museum ARoS, 2012. My investigation involves a combination of qualitative interviews with visitors, observations of the audience’s interactions with the exhibition and the artwork in the museum space, and short analyses of individual works of art based on reception aesthetics, phenomenology, and newer writings on sound, voice and listening. The focus of the investigation is the quality and possible perspectives of the interaction with audiovisual works of art, articulating and sounding out their own ‘voices’. This methodological combination has been chosen to transgress the dichotomy between the aesthetic or hermeneutic artwork ‘text’ analysis and cultural theory, which focuses on the context understood as the framing, the cultural acts and agendas around the aesthetic ‘text’. The article will include experiences with another exhibition, David Lynch: The Air is on Fire (Fondation Cartier pour l’art contemporain, Paris, 2007 and Kunstforeningen Gl. Strand, Copenhagen, 2010- 2011). The two exhibitions are fundamentally different in their integration of sound. My field of interest concerns the exploration of sound as artistic material in audiovisual combinations and those audiovisual works of art that might cause a change in the participatory strategy of the art museum towards the audience.

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7

Staruseva-Persheeva, Alexandra Dmitrievna. "Video Art: “A White Cube” or “A Black Box”?" Journal of Flm Arts and Film Studies 6, no. 4 (December 15, 2014): 114–23. http://dx.doi.org/10.17816/vgik64114-123.

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Video art is a hybrid, combining features of both contemporary art as well as screen arts. It brings together different ways of perception working both in a manner of a movie which transfers the viewer into virtual daydreaming (Matthew Barney, Steeve McQueen), and in a manner of a painting or sculpture which gives a viewer some intense corporal experience (Tony Oursler). Accordingly, there are two ways of presenting video art: in a white cube and a black box. In 1970-s video art used to be presented in white cubes of contemporary art galleries where they nailed the screens right to the wall. In a white cube video comes into the viewers sight together with other items in display, therefore a show-piece comes into contact with other ones in a spectators minds eye. Moreover, a white cube gives visitors an opportunity to be in charge of their time of viewing, which implies, that the white cube perception appears rather chaotic and the final cut of a video in the spectators mind becomes unpredictable, what is characteristic of video. In 2000-s when both video and film technologies got replaced by the digital one, all the moving pictures started to resemble one another. A well-lit room of a white cube was not appropriate for high definition videos, whereas a black box is usually associated with a cinema hall and consequently a video presented in such a cinematic manner makes a viewer unconsciously expect to see a cinematic piece of art. Video today is an indispensable figurant of any significant exhibition of contemporary art and it is defined as an artistic (not cinematic) media. Traditionally video is being exhibited in a white cube of a gallery; however, there is now a distinct tendency to present video art in a black box, that is in a cinematic way. As a result its getting harder and harder to distinguish video art from experimental cinema. Nowadays the very strategy of presentation of video may help this media to retain identity or to lose it.

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8

Kaye, Nick. "Video Presence: Tony Oursler's Media Entities." PAJ: A Journal of Performance and Art 30, no. 1 (January 2008): 15–30. http://dx.doi.org/10.1162/pajj.2008.30.1.15.

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9

Nigianni, Panagiota (Betty). "Historical time in Tony Oursler's media arts." Journal of Visual Art Practice 14, no. 2 (May 4, 2015): 132–45. http://dx.doi.org/10.1080/14702029.2015.1041731.

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10

Xie, Renai, and Surng Gahb Jahng. "Study on Tony Oursler’s Techno-Image “Eyes” from E.H. Gombrich"s Perspective of Iconography." TECHART: Journal of Arts and Imaging Science 7, no. 1 (February 29, 2020): 32–44. http://dx.doi.org/10.15323/techart.2020.2.7.1.32.

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11

Sheppard, Christian. "Believing and Debunking Spiritualism with Arthur Conan Doyle and Harry Houdini in Tony Oursler's Imponderable." Religious Studies Review 43, no. 3 (September 2017): 243–49. http://dx.doi.org/10.1111/rsr.13067.

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12

Dozières, Cyrielle. "Tony Oursler : Vox Vernacular." Critique d’art, April 18, 2014. http://dx.doi.org/10.4000/critiquedart.13269.

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13

Dupont, Alexandre. "Imponderable: The Archives of Tony Oursler." Critique d’art, November 4, 2016. http://dx.doi.org/10.4000/critiquedart.19377.

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14

Bona Moreira, Caio Ricardo. "O ENCONTRO ENTRE CHUVOSOS E NEFELIBATAS: A NUVEM POLÍTICA." Revista de Letras, no. 15 (February 15, 2013). http://dx.doi.org/10.3895/rl.v0n15.2319.

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A partir da leitura do poema-fábula “Os Chuvosos”, de Wilson Bueno, proponho uma reflexão acerca da figura do nefelibata. No referido texto, o escritor narra a vida de seres que habitam o interior das nuvens. Esses personagens rabelaisianos formam uma família que se transforma, ao longo da narrativa, em gotas de chuva. As figuras do nefelibata e da nuvem podem ser lidas como sintoma da rarefação da matéria, ou seja, da desmaterialização da obra, tendendo para a dispersão, para o vapor. Ela é recorrente em artistas contemporâneos como Wilson Bueno, Tony Oursler e Oscar Bony, mas já aparece em poetas simbolistas do final do século XIX e início do XX que, por sinal, foram considerados, pejorativamente, como nefelibatas alienados. Intentamos extrair da leitura outra força que não aquela que viu na nuvem apenas alienação.

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15

Gallego Sánchez, Mercedes. "Judy, una instalación de Tony Oursier." Espacio Tiempo y Forma. Serie VII, Historia del Arte, no. 16 (January 1, 2003). http://dx.doi.org/10.5944/etfvii.16.2003.2415.

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