The television monitors utilized in the video installation Come On (2008) ostensibly serve as playback devices for a multi-channel installation of clips from blockbuster films as part of a larger commentary of mass entertainment and its relation to consumer cultures. Arranged in a grid, however, the monitors begin to resemble closed circuit security systems, evoking associations of surveillance and policing. More than just casual documents of the every day, Gao’s video works carry a subversively political charge and force viewers to reconsider their own relationship to media and perception.
On March 30, 2015, at 5:52am, David Horvitz caught his daughter, Ela Melanie, as she was being born, in the back of an Uber driving through Midtown Manhattan. He held her up in the morning light as the car drove down Park Avenue, blocks away from the Museum of Modern Art, where Zanna Gilbert, the mother, was a fellow. After arriving at the hospital, Horvitz tweeted a photo and later e-mailed his friends and family with additional images.
Gao Mingyan produces video based-works that examine the political and epistemological violence of our contemporary moment...
Although the practice plays a central role in the work of David Horvitz, his work is at the opposite of fine art objects...
The television monitors utilized in the video installation Come On (2008) ostensibly serve as playback devices for a multi-channel installation of clips from blockbuster films as part of a larger commentary of mass entertainment and its relation to consumer cultures...
On March 30, 2015, at 5:52am, David Horvitz caught his daughter, Ela Melanie, as she was being born, in the back of an Uber driving through Midtown Manhattan...