{"id":19643,"date":"2017-06-24T15:09:18","date_gmt":"2017-06-24T19:09:18","guid":{"rendered":"http:\/\/www.microscopegallery.com\/?page_id=19643"},"modified":"2017-06-24T15:17:00","modified_gmt":"2017-06-24T19:17:00","slug":"19643-2","status":"publish","type":"page","link":"https:\/\/www.microscopegallery.com\/archive\/?page_id=19643","title":{"rendered":""},"content":{"rendered":"

Saturday July 1, 7:30pm\u2028<\/span>
\nYES<\/em>: Katherin McInnis \/ Hyla Skopitz\u2028<\/strong><\/span>
\nartists in person!<\/span>
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\"Children<\/p>\n

Still from “Children of Lir” (by Katherin McInnis, 2016) – Image courtesy of the artist<\/p>\n

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Microscope is very pleased to welcome Katherin McInnis and Hyla Skopitz to the gallery for a screening evening as part of our\u00a0emerging artist series\u00a0YES<\/em>. The program – which includes several New York premieres – features works that recontextualize\u00a0still photography, original or appropriated, within the medium of moving image\u00a0with an emphasis on its use as a historical documentation and\u00a0mnemonic tool.<\/span><\/p>\n

Hyla Skopitz\u2019s works in the program present analog photography,\u00a0often as it’s being developed, exposing the photographic process and the physical existence of the image, such as in “Nostalgia (after Hollis Frampton)” and “George Eastman”. In other works, the artist inventively intertwines still and moving images culled from her personal life through focus adjustments and superimposition techniques, employing\u00a0video\u00a0as a “means for processing loss”. \u00a0<\/span><\/p>\n

Using publicly available and archive photographs, Katherin McInnis reveals the ability of images to\u00a0shape\u00a0one\u2019s impression of a historical event, touching on topics including the Wall Street\u00a0financial collapse, debunked optical theories,\u00a0the\u00a0moon landing, and coding in aviary communications.\u00a0Moments of history emerge in flicker, offering the viewer a glimpse\u00a0at reality through the magic lens of cinema. The evening includes the premiere of her latest video work “The Children of Lir”. \u00a0<\/span><\/p>\n

Both McInnis and Skopitz will be in attendance and available for a Q&A following the screening.<\/span><\/p>\n

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\nWorking in video and new media,\u00a0Katherin McInnis<\/strong>\u00a0combines documentary concerns with experimental techniques. Her projects have been featured in festivals, including the Toronto Film Festival, International Film Festival Rotterdam, and New York Film Festival, as well as in museums and galleries, including San Francisco Museum of Modern Art, the Pompidou Center, and nGbK Berlin. McInnis holds an MFA from California College of the Arts and a BA from Swarthmore College. Originally from Texas, she lives in Queens, NY and teaches at CUNY.<\/span><\/p>\n

Hyla Skopitz<\/strong>\u00a0is an artist working in video and photography. In her works, she often examines photography through the lens of video, referencing the history of the medium in relationship to nostalgia and memory. She is a 2016 recipient of the BRIC Media Arts Fellowship and holds an MFA from Bard College – International Center of Photography. Skopitz lives and works in Brooklyn, NY.<\/span><\/p>\n

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General admission $8<\/em><\/span>
\nMembers and students w\/ ID $6<\/em><\/span><\/p>\n

ADVANCE TICKETS<\/a><\/div>\n

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Program:<\/strong><\/span><\/p>\n

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(Nostalgia) after Hollis Frampton<\/strong><\/span>
\nby Hyla Skopitz, three-channel HD video, 2016, 14 minutes 46 seconds<\/em><\/span>
\n(Nostalgia) after Hollis Frampton is a homage to Hollis Frampton\u2019s experimental film from the 1970s when he abandoned still photography for moving images. He filmed static shots of his photographs burning on a hot plate, turning to ash. In this video, exposed photographic paper is filmed swaying in trays of developer bath in the darkroom as the latent image is realized. The images, which I had shot as a young photography student, slowly emerge tinted red by dim \u201csafe\u201d lights. With the click of the pull chain, they are fully revealed by the overhead light for a moment until this \u201cwhite\u201d light turns them black, the image almost completely erased.<\/span><\/p>\n

Contact<\/strong><\/span>
\nby Hyla Skopitz, single-channel HD video, 2015, 1 minute 3 seconds<\/em><\/span>
\nContact was made after a friend\u2019s sudden death. In it, a contact sheet comes into focus through dust and scratches for a brief moment as a kettle climaxes into a whistle and the image is again obscured. \u00a0 <\/span><\/p>\n

Mar 1988<\/strong><\/span>
\nby Hyla Skopitz, single-channel HD video, 2017, 5 minutes 55 seconds<\/em><\/span>
\nMar 1988 is comprised of Super 8 footage from home movies along with cell phone videos and photographs from my Instagram feed (@goodbyla) layered behind an analogue slide taped to a computer monitor. My father had created slide shows of historical and religious sites to share with his students and colleagues. The only slide I saved from his carousels was this one, an image showing an airplane wing, clouds, and mountains framed by the curved window. \u00a0\u00a0 <\/span><\/p>\n

1:30 (George Eastman)<\/strong><\/span>
\nby Hyla Skopitz, single-channel HD video, 2010, 1 minute 44 seconds<\/em><\/span>
\n1:30 (George Eastman) is structured by its duration, the time it takes for a Polaroid to develop. The mansion is located in my hometown Rochester, NY and was built by George Eastman, the founder of Kodak. It was converted into a museum which historicizes the medium through its collection, tracing the evolution of photography as a technology and scientific tool to becoming a mode of personal expression and a fine art.\u00a0 It also houses one of the most important film archives in the country. The video continually references photography, the photographer Ken Josephson and the Pictorialist movement in particular, as well as cinematic tropes such as the jump cut, reverse action, and time lapse.<\/span><\/p>\n

Snakes & Ladders<\/strong><\/span>
\nby Katherin McInnis, single-channel video, 2011, 3 minutes 30 seconds<\/em><\/span>
\nSnakes and Ladders references both the story of the Lindbergh baby kidnapping and the 1929 stock market crash in a new era of financial crisis and celebrity fascination.\u00a0 <\/span><\/p>\n

Aviary<\/strong> <\/span>
\nby Katherin McInnis, single-channel HD video, 2013, 5 minutes 10 seconds<\/em><\/span>
\nPigeons (or doves) are filthy and useful, secret and ubiquitous, passenger and carrier. A metaphor for communication as weapon and war casualty.<\/span><\/p>\n

Hat Trick<\/strong><\/span>
\nby Katherin McInnis, single-channel 2k video, 2014, 4 minutes 15 seconds<\/em><\/span>
\nOriginal Soundtrack by Matthew Leonard<\/span>
\nHat Trick is a collage film that uses the moon landing (and hoax theories) to examine the role of wonder, luck, and inexplicability in science. The film combines documentation from NASA training programs, on-set stills from the “technically accurate” cult film “Destination the Moon”, and other images from the sets of pre-digital filmmaking. In the age of assumed airbrushing, craft, skill, and luck are forgotten parts of illusions (or exploration).<\/span><\/p>\n

The Two Sights<\/strong><\/span>
\nby Katherin McInnis, single-channel 2k video, 2015, 4 minutes<\/em><\/span>
\n\u201cThe Two Sights is a witty, hypnotic riff on an eleventh-century theory of optics that influenced da Vinci and Galileo\u201d – Tony Pipolo, Artforum<\/span><\/p>\n

Children of Lir<\/strong> <\/span>
\nby Katherin McInnis, single-channel HD video, sound, 2016, 5 minutes<\/em><\/span>
\nMade entirely from still photographs from the Life Magazine archives, Children of Lir combines an Irish tale of children set adrift as swans and the lead poisoning of water in Flint and other American communities.<\/span><\/p>\n

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\n\"Hyla
\nStill from “Mar 1988” (by Hyla Skopitz, 2017) – Image courtesy of the artist<\/h1>\n","protected":false},"excerpt":{"rendered":"

Saturday July 1, 7:30pm\u2028 YES: Katherin McInnis \/ Hyla Skopitz\u2028 artists in person! Still from “Children of Lir” (by Katherin McInnis, 2016) – Image courtesy of the artist Microscope is very pleased to welcome Katherin McInnis and Hyla Skopitz to the gallery for a screening evening as part of our\u00a0emerging artist series\u00a0YES. The program – […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_mc_calendar":[],"footnotes":""},"class_list":["post-19643","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=\/wp\/v2\/pages\/19643","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=19643"}],"version-history":[{"count":5,"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=\/wp\/v2\/pages\/19643\/revisions"}],"predecessor-version":[{"id":19650,"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=\/wp\/v2\/pages\/19643\/revisions\/19650"}],"wp:attachment":[{"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=19643"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}