#tonyoursler

[publicartfund]

Wishing you all a 😱 day. 📷 Tony Oursler @tonyoursler, “Tear of the Cloud,” 2018 Multi-chanel installation, courtesy of the artist. Photo @nicholasknightstudio #HappyHalloween #TonyOursler https://www.instagram.com/p/CVsnHLAFCso/?utm_medium=tumblr

[moma-prints]

Surveillance; Alien/Houston St. Deli from Exit 99, Tony Oursler, 1999, MoMA: Drawings and Prints

Jacqueline Brody Fund Size: composition: 25 x 16 3/4" (63.5 x 42.5cm); sheet: 29 15/16 x 21 15/16" (76 x 55.8cm) Medium: Screenprint from a portfolio of seven screenprints and one etching and aquatint

http://www.moma.org/collection/works/63802

[millenniumfilmjnl]

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Millennium Film Journal No. 57 “Violence in Artists’ Cinema” (Spring 2013). Cover: #tonyoursler Title page: Shai Heredia and Shimona Goel “I am Micro” a few copies available. #artistsmovingimage #shaiheredia https://www.instagram.com/p/CDCJSiTFzuW/?igshid=mhaubay1hm7u

[tetradimension2020]

Tony Oursler

Por: Jesús Edgar Enríquez Mayoral

 “Una de las principales características de la obra de Oursler es la búsqueda de empatía entre el espectador, la obra y el mismo artista”[1]. Comenzar citando esta breve idea, es para abrir una interrogante  que pasamos de lado, ¿qué es la empatía en una sociedad medida por la imagen del yo?

El sujeto, según Freud, es la mascara que se esconde detrás del aparato psíquico, para ser más específico, se trata de una representación que se expresa en la consciencia. Esta consciencia se construye a través de rasgos mnémicos; funciona  como modo de medrar frente a las dificultades, a los dolores, también, la manera en la que comprendemos. Más o menos se identifica con la propuesta de Tony Oursler

Oursler entiende el cuerpo como un traje o un trapo sin vida. Lo representa como el cuerpo de un muñeco unido a la cabeza (que aparentemente parece que no le corresponde), una o varias, unas sobre otras, amontonadas, con rasgos y expresiones. Son figuras hieráticas con cabezas gordas e hinchadas como consecuencia de algún trauma, que ven pasar su vida, sus problemas, su propia historia y se encuentran inmóviles, incapaces de reaccionar ni de tomar partido por ellos mismos.[2]

Tony Oursler encuentra su parangón en el psicoanálisis, afronta el mismo problema,  la angustia de existir, angustia frente aquello no se puede proveer, que nos excede. Angustia que es un tipo de miedo y que el aparato psíquico tendrá que manejar de formas inconsciente para librarse de ello. Aunque esta podría ser la  premisa teórica, su obra, rompe esos márgenes bajo contextos  donde la imagen se  impide asimismo llamarse imagen. Se trata, más bien, de formaciones visuales que desde su materialidad, apuntan a ser una manera de exponer la constante  manera de afrontarse como individuo: el yo.

Pero el problema apenas se está exponiendo, ya que para Freud como para Tony Oursler, ese yo sólo existe en un contexto, no hay un yo aislado, aislado de su vida, de su cultura, de su historia, de sus angustias. La vuelta de tuerca de Oursler es que este es el sujeto de la tetradimesinalidad, que es plasmado de la forma  inexistente con  materiales que impiden asirlos.  Me parece que está en la materialidad y la forma, el contenido  manifiesto de la obra de  Oursler que se concluye a sí mismo anunciando: “somos el objeto de una angustia de las formas aisladas de nuestra época”. Es que ese aislamiento que nos da nuestro contexto es la  imposición de nuestra consciencia reiterada, una y otra vez.

[1] Gallego Sánchez, Mercedes, “Judy, una instalación de Tony Oursier”, en Espacio, Tiempo y Forma, Serie Vil, H.^ del Arte, t. 16, 2003, p. 254.

[2] Idem, Gallego Sánchez, Mercedes, “Judy, una instalación de Tony Oursier”, p.255.

[drawdownbooks]

Today! SAVE 10% on EVERYTHING w/ code: “NEEDTHIS” / Paranormal: Tony Oursler Vs Gustavo Rol / Available at www.draw-down.com / For years, American artist #TonyOursler (the father of video-sculpture) has been collecting objects, publications, ephemera about the paranormal, using them as inspiration for many of his works. Photographs of ghosts, pseudo-scientific texts, and primitive technologies for creating visual illusions have found a home in his collection of over 15,000 items. The collection includes materials related to Oursler's grandfather Charles Fulton Oursler and his friendship with Harry Houdini. #Paranormal — Tony Oursler vs. Gustavo Rol, a 2017-2018 exhibition at the Pinacoteca Giovanni e Marella Agnelli in Turin, Italy, brought together works by Oursler as well as objects from his collection of #occult objects, alongside works by painter and #psychic Gustavo Rol from Turin's collections. This publication documents the exhibition, and showcases the #dialogue between Oursler's work and collection and Rol's paintings. Selected by Oursler himself, along with curator Paolo Colombo, the #exhibition explores connections between Oursler and Rol, two personalities poised between the visible and the invisible, between the #normal and #paranormal. https://www.instagram.com/p/BuRU2DNnUxE/?utm_source=ig_tumblr_share&igshid=85txsvyuzrsn

[stoyanvassev]

Hypnotized @natrostovtseva At the @zifergauz digital art gallery. @gazprom_neft.ru #spb #art #tonyoursler #hypnosis #санктпетербург #новаяголландия @tonyoursler (at New Holland / Новая Голландия) https://www.instagram.com/p/CZCkJDiLCSn/?utm_medium=tumblr

[matthiasmhalder]

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#contemporaryart #mexicocity #museojumex #tonyoursler (at Fundación Jumex Arte Contemporáneo)

[arte-rock]

The Poetics. Remixes of recordings 1977-1983.

[markperryart]

@guild_hall Tony Oursler: Water Memory closes today at 5pm. Lots to ponder, some beauty and humor! #people #water #symbols #rorschach #paintings #light #guildhall #tonyoursler #examine (at Guild Hall of East Hampton) https://www.instagram.com/p/B0LbaRSHTkW/?igshid=170vr2m1drm4k

[marcolikestowatch]

‘Switch’ Tony Oursler, 1996 @centrepompidoumalaga #marcolikestowatch #tonyoursler (bij Centre Pompidou Málaga)

[estherattarmachanek]

@BelvedereOrangerieUnteres #TALKINGHEADS ZEITGENÖSSISCHE #DIALOGE MIT #F.X.MESSERSCHMIDT Pressekonferenz: DO, 7. März 2019 Eröffnung: Donnerstag, 07. März 2019 | 19 Uhr Es sprechen: #StellaRollig, Generaldirektorin Kurator: #AxelKöhne Kunstler_innen: #AnnaArtaker #miriamcahn #douglasgordon Gordon #KurtKren #MariaLassnig #MaraMattuschka #LutzMommartz #BruceNauman #TonyOursler, #ArnulfRainer Ausstellung: 08. März - 18. August 2019 Rennweg 6, 1030 Wien https://www.belvedere.at/ https://www.instagram.com/p/ButjCpMhHPC/?utm_source=ig_tumblr_share&igshid=1013rlwotiqf9

[millenniumfilmjnl]

Tony Oursler “Tear of the Cloud” review by Anna Dell’Aria in MIllennium Film Journal No 69, publishing mid-April 2019. #tonyoursler #tearofthecloud #annadellaria #artistsmovingimage #publicart #publicartfund #mfj69 https://www.instagram.com/p/Bteb31jlLpD/?utm_source=ig_tumblr_share&igshid=b5iys66uyr5o

[drawdownbooks]

Paranormal: Tony Oursler Vs Gustavo Rol / Available at www.draw-down.com / For years, American artist #TonyOursler (the father of video-sculpture) has been collecting objects, publications, ephemera about the paranormal, using them as inspiration for many of his works. Photographs of ghosts, pseudo-scientific texts, and primitive technologies for creating visual illusions have found a home in his collection of over 15,000 items. The collection includes materials related to Oursler's grandfather Charles Fulton Oursler and his friendship with Harry Houdini. #Paranormal — Tony Oursler vs. Gustavo Rol, a 2017-2018 exhibition at the Pinacoteca Giovanni e Marella Agnelli in Turin, Italy, brought together works by Oursler as well as objects from his collection of #occult objects, alongside works by painter and #psychic Gustavo Rol from Turin's collections. This publication documents the exhibition, and showcases the #dialogue between Oursler's work and collection and Rol's paintings. Selected by Oursler himself, along with curator Paolo Colombo, the #exhibition explores connections between Oursler and Rol, two personalities poised between the visible and the invisible, between the #normal and #paranormal.

[worldfoodbooks]

NEW IN THE BOOKSHOP: TONY OURSLER & MIKE KELLEY (1997 Scarce Tony Oursler + Mike Kelley exhibition catalogue / artists’ book published in conjunction with a major two-person exhibition held 1997 – 1998 in Tokyo. Includes colour installation images of the exhibition as installed at Documenta X, June 21 – September 28, 1997. “The ongoing ‘Poetics Project’ serves up a rich mix of visual and aural experiences, while inviting viewers to question the reliability of the shows as history. Artist Mike Kelley says, ‘If you don’t create your own history, someone else will.” Kelley and Tony Oursler’s the ‘Poetics Project 1977-1997’ is a retrospective work that draws from their collaborative efforts in painting, video, sculpture, drawing and music. Although the ostensible subject of this project is Kelley and Oursler’s early experiences as performers in a loose-knit musical group called the Poetics, its broader concerns are the processes by which history is constructed, and the reciprocal relationship between the fine arts and popular culture. The conflation of past and present in the ‘Poetics Project’ makes it difficult at first for the viewer to penetrate the work. Video installations and taped interviews with visual artists, rock musicians and critics are intermingled with paintings, sculptures and stacks of drawings. A precise checklist and diagram prepared by Kelley and Oursler methodically pinpoint the authorship of each work, while serving as a serf-guided tour and critical record of the project. Only with this didactic help do viewers come to realize that the ‘Poetics Project’ is almost entirely made up of works created in 1997 and 1998, though based on what Kelley and Oursler tell us is a single notebook of sketches and a collection of audio recordings–some little more than notations for never-performed works–which date from the late 1970s and early ’80s (the Poetics disbanded in 1983)... Available via our website. #worldfoodbooks #tonyoursler #mikekelley (at WORLD FOOD BOOKS)

[betweenmirrors]

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DUST (THOUGHT FORMS) by #TonyOursler (@tonyoursler | 2006, Fiberglass, Sound System, Projector) #BetweenMirrors (at The Broad Museum At Downtown Los Angeles)

[arte-rock]

The Poetics. John Arnheim, Bill Stobaugh, Mike Kelley, Tony Oursler, John Miller. Los Angeles, 1977. Photo: Jim Shaw. 

In the 1998 book Poetics Project, Kelley and fellow artist Tony Oursler reflect upon the ambitions, germination, and ultimate failure of their joint art-band The Poetics. Kelley’s to-the-point essay title “Introduction to an Essay, Which is in the Form of Liner Notes for a CD Reissue Box Set” reveals a history of a band caught between nightclub comedy act, noise music, and British punk’s landing on American shores. (Mark Beasley)