Tony Cokes

Related EAI Public Programs

 
 
EAI at Frieze
Frieze New York at The Shed 545 W 30th St
New York, NY 10011

Wednesday, May 18th to Sunday, May 22nd, 2022

On the occasion of the organization's 50th anniversary, Frieze has invited Electronic Arts Intermix (EAI) to program a series of videos from its collection of over 4,000 titles. This selection offers a dynamic overview of the strategies and concerns of an intergenerational array of artists whose work experiments with communications technology, ranging from television to social media. Videos from the EAI collection will appear throughout the fair, on large-scale monitors at its entrance and in lobbies on two floors. EAI's participation is part of a program spotlighting New York non-profits organizations that have celebrated significant anniversaries in the past year, alongside peers Artists Space, A.I.R., and Printed Matter Inc. Works featured include:

Program #1 (4th floor, CRT monitor):
Anthony Ramos, Balloon Nose Blow-Up, 1972, 11:18 min
Kristin Lucas, Cable Xcess, 1996, 4:48 min
Jaime Davidovich, The Live! Show Promo, 1982, 5:32 min
Joan Jonas, Duet, 1972, 4:23 min
Ulysses Jenkins, Inconsequential Doggereal, 1981, 15:13 min
Robert Beck, The Feeling of Power, 1990, 9 min
Cecelia Condit, Possibly in Michigan, 1983, 11:40 min
Ellen Cantor, Evokation of My Demon Sister, 2002, 4:38 min

Program #2 (6th floor, HD monitor)
Ulysses Jenkins, Notions of Freedom, 2007, 15:47 min
Trevor Shimizu, Lonely Loser Trilogy (Skate Videos), 2013, 14 min
Shana Moulton, Restless Leg Saga, 2012, 7:14 min
Peggy Ahwesh, The Falling Sky, 2017, 9:30 min
Tony Cokes, B4 and After the Studio, Part 1, 2019, 11:02 min
Maggie Lee, WINGS1 + WINGS2, 2013, 1:59 min
Maggie Lee, Department Store, 2021, 7:50 min

Mezzanine monitors
Peggy Ahwesh, The Falling Sky, 2017, 9:30 min
Trevor Shimizu, Lonely Loser Trilogy (Skate Videos), 2013, 14 min
 
Tony Cokes: The Book of Love
Electronic Arts Intermix (EAI) 535 West 22nd Street 5th Floor

Thursday, May 24th, 2018, 7:00 PM

$7 / $5 / free for members
Get tickets here.

Electronic Arts Intermix (EAI) is pleased to present an evening with Tony Cokes, organized in conjunction with On Non-Visibility, his first gallery exhibition, on view through June 9th at Greene Naftali. At EAI, Cokes will be in conversation following a screening of The Book of Love (1992), a video portrait of his mother that deliberately takes apart the conventions of personal documentary to frame its own devices. Describing the tape in FELIX journal, Cokes writes, “…The piece is about my mother, so it has a lot of narrative and Oedipal tropes. She tells stories while I busily frame her cropped image with quotes and voice-over essays. I let her speak, but never outside the context I construct. (A lot of commentary is irrelevant to her story) Think about all the hands and reasons and agendas between you and anything you see no matter how ‘raw,’ ‘faux-naïve,’ ‘rough’ the style. A lot of confusion exists between romantic notions of ‘otherness’ (authenticity, identity) and highly fragmented, constructed, class- and gender-split subjects. Social agendas are always disguised as art. What statement is more politically charged than the claim that art (or science) must be politically neutral? Art can’t help reflecting on history/politics/economics.”
 
"Broadcasting: EAI at ICA"
Institute of Contemporary Art 118 S. 36th Street
Philadelphia, PA 19104

February 2nd–March 25th, 2018

With additional programs at Lightbox Film Center, PhillyCAM, Scribe Video Center, Slought, Anthology Film Archives, EAI, and EMPAC.

Electronic Arts Intermix (EAI) is pleased to co-present Broadcasting: EAI at ICA at the Institute of Contemporary Art (ICA), Philadelphia, February 2nd through March 25th. Featuring works by artists including Robert Beck, Dara Birnbaum, Tony Cokes, Ulysses Jenkins, JODI, Shigeko Kubota, Kristin Lucas, Shana Moulton, Trevor Shimizu, and TVTV, the exhibition will focus on how artists exploit the act of broadcasting as a subject, as a means of intervention, and as a form of participation across a variety of displays.

The word “broadcast” originated as an agricultural term meaning to disperse seeds widely, but became a figurative description for communications technology in the radio age. In the television era, with which broadcasting is most synonymous, the introduction of personal video equipment fostered a more dynamic interpretation, facilitating a two-way flow of information that resonates with contemporary participatory media. In this spirit, the physical walls of the gallery will extend beyond ICA through a series of collaborations with Lightbox Film Center, PhillyCAM, Scribe Video Center, Slought, Anthology Film Archives, EAI, and EMPAC.

Broadcasting: EAI at ICA is co-curated by Alex Klein, Dorothy & Stephen R. Weber (CHE’60) Curator, ICA and Rebecca Cleman, Director of Distribution, Electronic Arts Intermix (EAI)
 
"Edited at EAI": 45th Anniversary Series

Electronic Arts Intermix (EAI) 535 West 22nd St. 5th Fl.
New York, NY 10011

April–September, 2016

April 27: "Edited at EAI": 1972-77
June 16: "Edited at EAI": Artist to Artist
June 22: "Edited at EAI": Videos by Tom Rubnitz
July 27: "Edited at EAI": Restless Generation
Aug 16: "Edited at EAI": Video Interference
Sept 22: "Edited at EAI": Dara Birnbaum

As part of EAI's ongoing 45th anniversary celebrations, we launched a series of screenings that highlight a less well-known but historically important and creatively fertile area of our programs: EAI's Editing Facility for artists. Established in 1972 with early 1/2" open reel editing equipment, EAI's facility was one of the first such post-production workspaces for artists in the U.S. Over five decades, an extraordinary group of artists has used EAI's facility to create some of the most significant works in media art's diverse histories. Many of these artists and works will be featured in screenings throughout our 45th anniversary year.

The first screening on April 27, "Edited at EAI": 1972-77 featured an eclectic selection of works from the 1970s, charted the alternative artistic, political, and cultural expressions of artists experimenting with emergent video editing technologies and strategies. The program included early works from the 1970s by Ant Farm, Juan Downey, Jean Dupuy, Shigeko Kubota, Mary Lucier, Raindance, Anthony Ramos, Ira Schneider, and Hannah Wilke, among others.

On June 16 Artist to Artist featured the rich collaborative process and the creative relationships between artists and the artists/editors with whom they worked, through the lens of EAI's editing facility. Video works by Cheryl Donegan, Ursula Hodel, Nam June Paik, Carolee Schneemann, and Michael Smith—all edited at EAI—were shown together with works by Robert Beck, Seth Price and Trevor Shimizu, three internationally recognized artists who spent formative years as EAI editors. Artists Robert Buck and Cheryl Donegan were in conversation following the screening.

On June 22 EAI celebrated the video work of Tom Rubnitz (1956-1992), whose deliriously camp genre parodies and music videos capture the anarchic spirit and talents of the 1980s East Village scene of Club 57 and the Pyramid Club. The rich body of work that Rubnitz edited at EAI includes TV spoofs, music videos, and the musical parody Psykho III The Musical (1985). Artist John Kelly participated in a conversation following the screening.

On July 27 Restless Generation focused on a group of conceptually driven performance videos by women artists who reenergized and redefined the genre in the 1990s, as seen through the lens of EAI's editing facility. These lo-fi performances staged for the camera­—by artists such as Vanessa Beecroft, Alix Lambert, Kirsten Mosher, Alix Pearlstein, and Beverly Semmes, among others—evoke the strategies of the first generation of artists working with video in the early 1970s, even as their bold stylizations, ironic sensibility, and explicit nods to consumer culture announced a fresh approach to representations of female identity and the body that spoke emphatically to its time.

On August 16 the series continued with an evening of activist video work from the late 1980s through the mid-1990s. Shot largely on low-end consumer equipment and edited, often off-hours, at EAI, these works use video as an activist tool, confronting urgent issues around the AIDS crisis, race, gender, and sexuality. Videos by ACT UP affinity groups DIVA TV (Damned Interfering Video Activist Television) and House of Color, as well as art collective X-PRZ, were screened along with work by artists Robert Beck and Tom Kalin. Although rooted in the specific political and cultural contexts of that moment, these powerful activist voices
 
"Edited at EAI": Video Interference
Activist Videos by Artists and Collectives, 1989-1995
Electronic Arts Intermix (EAI) 535 W. 22nd St. 5th Fl.
New York, NY 10011

Tuesday, August 16
6:30 pm

EAI continued our 45th anniversary "Edited at EAI" series with an evening of activist video work from the late 1980s through the mid-1990s. Shot largely on low-end consumer equipment and edited, often off-hours, at EAI, these works use video as an activist tool, confronting urgent issues around the AIDS crisis, race, gender, and sexuality. Videos by ACT UP affinity groups DIVA TV (Damned Interfering Video Activist Television) and House of Color, as well as art collective X-PRZ, were screened along with work by artists Robert Beck and Tom Kalin. Although rooted in the specific political and cultural contexts of that moment, these powerful activist voices continue to resonate and find relevance today.

Organized in conjunction with EAI's 45th anniversary, the "Edited at EAI" series highlights a historically significant but less well-known area of EAI's programs: EAI's Editing Facility for artists, one of the first such creative workspaces for video in the United States.
 
HIGH RESOLUTION: Artist's Projects at the Armory
ELECTRONIC ARTS INTERMIX VIDEO PROGRAMS
Curated by Students of The Center for Curatorial Studies
Park Avenue Armory Park Avenue at 67th Street, New York City

February 21 - 25, 2008

Electronic Arts Intermix (EAI) and The Center for Curatorial Studies at Bard College (CCS Bard) presented a series of video programs at The Park Avenue Armory during the 20th annual Art Show, organized by the Art Dealers Association of America (ADAA). EAI invited the first year graduate students in the CCS program to curate video programs out of the EAI collection. Four separate programs were produced by the students, which were exhibited on monitors in the Armory's main Hallway between February 21-25, 2008.
 
RECENT AND HISTORICAL ARTISTS' VIDEOTAPES FROM THE EAI COLLECTION
EAI 535 W 22nd Street, New York City

Spring 2002

EAI presents ongoing programs that feature new and historical works from the EAI collection in Dia's rooftop Video Salon and Café. The Spring 2002 program included works by Seoungho Cho, Tony Cokes, Mary Lucier, and Leslie Thornton.
 
RECENT AND HISTORICAL ARTISTS' VIDEOTAPES FROM THE EAI COLLECTION
Dia's rooftop Video Salon and Café 535 W 22nd Street, New York City

Winter 2001

The Winter 2001 edition of this ongoing screening series at Dia's rooftop Video Salon and Café featured works by Peggy Ahwesh, Tony Cokes, Cheryl Donegan, Gary Hill, Mike Kelley, and Rita Myers.