LINE DESCRIBING A CONE is what I term a solid light film. It deals with the projected light beam itself, rather than treating the light beam as a mere carrier of coded information, which is decoded when it strikes the flat surface (the screen). It is projected in the normal way, on a 16mm film...
This experimental "film" consists of an empty room with a bare lightbulb, and windows covered with a translucent material, for a duration of 24 hours. It is not necessary for visitors to stay for the entire duration - they can come and go as they please. Created by Anthony McCall, it is based on...
For Landscape for Fire, Anthony McCall and members of the British artist collaborative Exit followed McCall’s pre-determined score to torch containers of flammable material across a field. McCall describes it: "Over a three-year period, I did a number of these sculptural performances in...
Three male voices dissect one edition of The New York Times through a series of locked-off shots, revealing the prejudice and latent content of news and advertisements, reading images as texts and presenting text as an image.
Video documentation of performance of the work hosted by De Appel, Amsterdam, in 1977 and filmed by Miguel-Ángel Cárdenas. In ABC - We print anything - In the cards (1977) Schneemann documented dreams, advice and conversations relating to her shifting relationships. She collated 315 numbered...
The first in the new Solid Light film series. Like Four Projected Movements almost thirty years earlier, the installation is projected against a wall; the piece was constructed from back waves that pass imperceptibly through one another to create a mutable series of interior spaces.
This key work of the late 1970s, now digitally restored, is a unique attempt to combine contemporary debates around formalism, feminism and psychoanalysis in film. Implicitly engaged in a critical dialogue with filmmakers like Yvonne Rainer and Jean-Luc Godard, as well as the theorists of 'Screen'...
McCall’s digital animation presents a slowly shifting beam of “solid light” whose physical properties become outlined within the haze-filled space of the gallery and are further enhanced through viewer interaction. Exploring light across space and time, this immersive presentation complements...
A single fifteen minute quarter of a triangular edge of light through 90 degrees, along one wall, becomes four distinct architectural interventions through the intervention of the projector.
A single projection in which the “split” is created by interrupting the throw of light with a wall-sized mirror. The plane of light is reflected back onto itself, creating a shifting volumetric cone, which exists seamlessly both in real space and as a reflected object. (Sean Kelly)
Split Second consists of two separate points of light projected at different heights. The two projections – one elliptical, one flat – meet and combine to form a single slowly changing line-drawing. The projections expand to reveal a flat blade and an elliptical cone, which combine in space to...
In Raised Voices, there are two competing and intersecting forms within the horizontal projection; an incomplete ellipse that varies in its diameter, and a straight diagonal line that splinters in two as it turns through 180 degrees. The forms develop according to a precise durational structure,...
