{"id":20438,"date":"2018-01-14T17:00:13","date_gmt":"2018-01-14T22:00:13","guid":{"rendered":"http:\/\/www.microscopegallery.com\/?page_id=20438"},"modified":"2018-04-03T14:01:29","modified_gmt":"2018-04-03T18:01:29","slug":"20438-2","status":"publish","type":"page","link":"https:\/\/www.microscopegallery.com\/archive\/?page_id=20438","title":{"rendered":""},"content":{"rendered":"

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Friday January 26, 7:30pm<\/span>
\nChip Lord: Ant Farm to the Present<\/strong><\/span>
\nCurated by Liz Flyntz<\/span>
\nFollowed by a conversation between Chip Lord and Liz Flyntz<\/span><\/p>\n

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\nStill from \u201cMiami Beach Elegy\u201d by Chip Lord (2017) – Image courtesy of the artist
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We are pleased to welcome San Francisco based artist and Ant Farm co-founder Chip Lord as well as curator Liz Flyntz to the gallery for a screening of three recent video works by Lord – including a New York Premiere – preceded by a presentation of four historical performances and installations by Ant Farm made in the years 1970-75, and followed by a conversation between the artist and Flyntz.<\/span><\/p>\n

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From the curator Liz Flyntz:<\/span><\/p>\n

\u201cThe first three works, produced collaboratively in the 1970s by media, art, and architecture group Ant Farm, manifest a dawning awareness of the impact of humans on the environment.\u00a0Ant Farm, trained as architects and turned on to Marshall McLuhan, were particularly tuned-in to interactions between humans, the built environment, and the surrounding media ecology. A series of \u201cClean Air Acts\u201d legislated in the 60s, as well as the founding of the EPA in 1970, brought a novel discussion of the effects of air pollution on human health into the mainstream media. Pollution from motor vehicles and aerosol propellants in consumer products was of particular concern, since \u2014 unlike abstract, faraway industrial factories \u2014 cars, hairspray, and Cheez-Whiz were central to the average American\u2019s daily routine and self-conception. Ant Farm, who were obsessed with the aesthetic of cars, futuristic utopias and dystopias, and American consumerism, used an array of media to gleefully plumb the ambiguities of these iconic and ironic symbols of convenience, freedom, and prosperity.<\/span><\/p>\n

Chip Lord, one of Ant Farm\u2019s founders and principals, continues to use the techniques of experimental documentary video developed by media pioneers in the late 60s and early 70s. These contemporary documents witness the shift in environmental consciousness and anxieties from air pollution and human health to systemic compounding effects and planetary survival.\u201d \u00a0<\/span><\/p>\n

The screening will be followed by a conversation between Lord and curator Liz Flyntz.<\/span><\/p>\n

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\nGeneral admission $8<\/span><\/em>
\nMembers & Students w\/ ID $6<\/span><\/em>
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\nBecome a Member HERE<\/strong><\/a><\/span><\/p>\n

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

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

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Slide show presentation of the following works by Ant Farm:<\/span><\/p>\n

Gas Station<\/strong>, performance, 1970\u00a0\u2014\u00a0This was part of an Experiments in Art and Technology conference held at USC, Los Angeles.\u00a0\u00a0An aggressive performance connecting the phenomenon of smog and the proliferation of gas stations in 1970 Los Angeles.<\/span>
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\nClean Air Pod<\/strong>, performance, 1970 \u2014 In Living Archive 7: Ant Farm Felicity Scott describes the Clean Air Pod performance this way:\u00a0\u201cDressed in lab coats and gas masks, and with the pillow referred to as the Clean Air Pod (or CAP 1500), Ant Farm staged\u00a0Air Emergency\u00a0as a savvy piece of \u2018media theater\u2019, \u2018pollution art\u2019, or \u2018life art\u2019 that wryly captured the escalating sense of the destruction and militarization of the environment.\u201d<\/span>
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\nAerosol Arsenal<\/strong>, sculptural time capsule, 1975 \u2014 When scientists discovered that the fluorocarbons in aerosol cans were destroying the ozone layer of the atmosphere, Ant Farm responded with a time capsule containing aerosol products of the day.<\/span>
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\nCadillac Ranch<\/strong>, 1974 \u2014 This well-known and on-going public sculpture was created by Ant Farm in Amarillo, Texas as an evolutionary monument to the tail fin as an automotive design element. <\/span><\/p>\n

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Screening:<\/span><\/p>\n

Seagram Dark<\/strong>, 2017, 4 minutes 44 seconds<\/span>
\nwas shot at the public plaza in front of the Seagram Building on Park Avenue, a building considered a \u201cmodern masterpiece\u201d when completed in 1958. Workers come and go into the dark monolith, but there\u2019s life on the plaza.<\/span>
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\nNew York Underwater<\/strong>, 2014, 4 minutes<\/span>
\nan experimental video made after Hurricane Sandy inundated parts of Brooklyn in 2012.\u00a0 It\u2019s raining in Times Square, the sea is rising, and tourists keep coming.<\/span><\/p>\n

Miami Beach Elegy<\/strong>,\u00a02017, 30 minutes (New York Premiere)<\/span>
\nThis is a portrait and a visual poem on 2016\u2019s Miami Beach, as it stands on the edge of rising sea level. Meant to be a memento mori to Miami Beach, before the sea took it.<\/span><\/p>\n

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\nThe group\u00a0Ant Farm\u00a0<\/strong>worked the radical fringe of architecture from 1968 – 1978 and in the process migrated to video, performance, public art, graphic design and Art. Chip Lord was the co-founder of\u00a0Ant Farm\u00a0with Doug Michels in 1968.<\/span><\/p>\n

Chip Lord<\/strong>\u00a0was trained as an architect, and was a founding partner of Ant Farm in 1968.\u00a0 He produced the video art classics\u00a0Media Burn\u00a0and\u00a0The Eternal Frame\u00a0as well as the public sculpture,\u00a0Cadillac Ranch\u00a0in Amarillo Texas with Ant Farm.\u00a0His work blends documentary and experimental practice and moves between video, photography and installation.\u00a0An abiding interest in the culture of transportation systems led to\u00a0The Executive Air Traveler, 1980, a photo series, updated to\u00a0Airspaces,\u00a02000 \u2013 2011 and\u00a0To & From LAX, a public video installation in 2010. His interest in cities dates to 1990 and the film about Tokyo,\u00a0The Aroma of Enchantment.\u00a0 Miami Beach Elegy\u00a0is part of an on-going series about cities that face rising sea level. Lord\u2019s work is included in the collections of the Museum of Modern Art, The Tate Modern, San Francisco Museum of Modern Art, the FRAC Centre, the Pompidou Centre, and Berkeley Art Museum and Pacific Film Archive. He is Professor Emeritus in the Department of Film & Digital Media, U.C. Santa Cruz, and lives in San Francisco.<\/span>
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\nLiz Flyntz<\/strong> is a curator and information architect based in Brooklyn, NY. She specializes in early video art, experimental documentary, and the critical intersection of art, technology, and science. She studied art and communications at Antioch College, media art history, theory, and making in the Media Study Department at SUNY Buffalo, and media art and design at the Bauhaus University Weimar. Her writings on technology and art, media art history, and interviews with contemporary media artists have been published by Afterimage, The Creators Project, and Intercourse. She co-edited The Present Is the Form Of All Life: The Time Capsules of Ant Farm and LST, published by Pioneer Works Press and available from DAP.<\/span><\/p>\n

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\nMicroscope Gallery Event Series 2018 is sponsored, in part, by the Greater New York Arts Development Fund of the New York City Department of Cultural Affairs, administered by Brooklyn Arts Council (BAC).<\/em><\/h1>\n","protected":false},"excerpt":{"rendered":"

Friday January 26, 7:30pm Chip Lord: Ant Farm to the Present Curated by Liz Flyntz Followed by a conversation between Chip Lord and Liz Flyntz Still from \u201cMiami Beach Elegy\u201d by Chip Lord (2017) – Image courtesy of the artist We are pleased to welcome San Francisco based artist and Ant Farm co-founder Chip Lord […]<\/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-20438","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=\/wp\/v2\/pages\/20438","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=20438"}],"version-history":[{"count":10,"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=\/wp\/v2\/pages\/20438\/revisions"}],"predecessor-version":[{"id":20722,"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=\/wp\/v2\/pages\/20438\/revisions\/20722"}],"wp:attachment":[{"href":"https:\/\/www.microscopegallery.com\/archive\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=20438"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}