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• Carbon Capture: Experimental Strategies for Re-Presenting the Anthropocene

  Nisha Platzer and Malin Schmid’s Seed (2018) is an example of hand processing used in this way. The rough, mottled, hand-processed textures complement the close-up images of plants, water,...

• Carbon Capture: Experimental Strategies for Re-Presenting the Anthropocene

  In Michael Lyons’ Porto Landscape (2018), a “city symphony” film set in Porto, Portugal, various temporal devices are used to complementary effects. Lyons plays with mixing different “speeds” of...

• Carbon Capture: Experimental Strategies for Re-Presenting the Anthropocene

  Exemplifying a different approach to time, most of Kathleen Rugh’s Winter’s First Moons (2018) utilizes double and triple exposure to playfully combine footage of the moon in a free-flowing...

• Carbon Capture: Experimental Strategies for Re-Presenting the Anthropocene

  Native Elegance of the Soul, or Like, Whatever is framed as a walk through the Appalachian landscape. However, through rapid edits, such as, cutting out every second step...

• Carbon Capture: Experimental Strategies for Re-Presenting the Anthropocene

  In contrast, Mechanomorphic Nostalgia stimulates violent sensory overload by projecting two reels of film simultaneously. This splits the viewer’s attention, forcing the viewer not only to consider the entire...

• Carbon Capture: Experimental Strategies for Re-Presenting the Anthropocene

  Sandy McLennan’s The Last Skate (2018) is a nearly opposite film, but one which is no less radical. McLennan abstracts the horizontal landscapes of a frozen Canadian lake, destabilizing...

• Homo-Sighting: Consent & Refusal of Queer Performance in Ryan Danny Owen's LOVE ME LIKE THERE'S NO TOMORROW

  Ryan performed Love Me Like There’s No Tomorrow for the M:ST (Mountain Standard Time) Performative Art Festival, a biennial event that coordinates collaborations between numerous art and performance organizations...

• Homo-Sighting: Consent & Refusal of Queer Performance in Ryan Danny Owen's LOVE ME LIKE THERE'S NO TOMORROW

  The emotional toll Love Me Like There’s No Tomorrow had taken on Ryan was easy to observe. After the record player’s needle finished tracing its way across the...

• Homo-Sighting: Consent & Refusal of Queer Performance in Ryan Danny Owen's LOVE ME LIKE THERE'S NO TOMORROW

  Los-Angeles based artist and film director William E. Jones used this 1962 Mansfield footage for his video works Mansfield (2006) and Tearoom (2007). Jones created Mansfield after finding a...

• Homo-Sighting: Consent & Refusal of Queer Performance in Ryan Danny Owen's LOVE ME LIKE THERE'S NO TOMORROW

  Jones has exhibited the unedited, soundless footage at numerous exhibitions across the world, including the 2008 Whitney Biennial. Rather than editing the footage, the impact of Jones’s showing the...