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The Uncanny World of Tony Oursler

The Uncanny World of Tony Oursler Dialogue A: “You wait. . . . I’ll send a message over. . . . You wait. . . . I do feel guilt. I do. I really do feel guilt. . . .” Via Regia, 2010 Projector and video projection, found objects, model magic, acrylic, and epoxy putty mounted on steel armature. 61.25 x 8 x 19 inches (155.6 x 20.3 x 48.3 cm) Courtesy Lehmann Maupin Gallery. 36  PAJ 98 (2011), pp. 36–41. © 2011 Tony Oursler The Uncanny World of Tony oUrsler P eak is the title of an exhibition of new works by Tony Oursler that were on view at Lehmann Maupin on New York City’s Lower East Side, from October 7 through December 4, 2010. Peak addressed ways in which technology affects the human psyche, in microcosmic scenes that reflect obsession, escapism, isolation, and sexual fetish. “There’s a kind of rhyming and riffing on physical space and machine language juxtaposed against artificial intelligence,” says Oursler. The installations refer to dynamic systems and models, such as flowcharts, Rube Goldberg machines, and astronomical orreries in projections that combine glass, clay, steel, and raw materials with performed texts by the artist and other performers. “These http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png PAJ: A Journal of Performance and Art MIT Press

The Uncanny World of Tony Oursler

PAJ: A Journal of Performance and Art , Volume 33 (2) – May 1, 2011

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Publisher
MIT Press
Copyright
©© 2011 Tony Oursler
ISSN
1520-281X
eISSN
1537-9477
DOI
10.1162/PAJJ_a_00036
Publisher site
See Article on Publisher Site

Abstract

Dialogue A: “You wait. . . . I’ll send a message over. . . . You wait. . . . I do feel guilt. I do. I really do feel guilt. . . .” Via Regia, 2010 Projector and video projection, found objects, model magic, acrylic, and epoxy putty mounted on steel armature. 61.25 x 8 x 19 inches (155.6 x 20.3 x 48.3 cm) Courtesy Lehmann Maupin Gallery. 36  PAJ 98 (2011), pp. 36–41. © 2011 Tony Oursler The Uncanny World of Tony oUrsler P eak is the title of an exhibition of new works by Tony Oursler that were on view at Lehmann Maupin on New York City’s Lower East Side, from October 7 through December 4, 2010. Peak addressed ways in which technology affects the human psyche, in microcosmic scenes that reflect obsession, escapism, isolation, and sexual fetish. “There’s a kind of rhyming and riffing on physical space and machine language juxtaposed against artificial intelligence,” says Oursler. The installations refer to dynamic systems and models, such as flowcharts, Rube Goldberg machines, and astronomical orreries in projections that combine glass, clay, steel, and raw materials with performed texts by the artist and other performers. “These

Journal

PAJ: A Journal of Performance and ArtMIT Press

Published: May 1, 2011

There are no references for this article.