Search results for [Vicarious, Inc.,presenter. ] at NC Cardinal

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Run the tide [videorecording] / by Braddy, Johanna,1987-actor.; Johnson, Kenny,1963-actor.; Lautner, Taylor,1992-actor.; Mehta, Soham,film director.; Savone, Pilar,film producer.; Shah, Rajiv,screenwriter.; Zimmer, Constance,actor.; Momentum Pictures,publisher.; Orion Pictures,presenter. ; Vicarious, Inc.,presenter. ;

Taylor Lautner, Constance Zimmer, Kenny Johnson, Johanna Braddy, Nico Christou. When their drug-abusing mother is released from prison determined to rebuild their family, Rey kidnaps his younger brother Oliver and escapes their desert home for the California coast. DVD, region 1, widescreen (16x9, 2.40); 5.1 Dolby digital.

Subjects: Feature films.; Video recordings for the hearing impaired.; Brothers; Children of drug addicts; Runaway teenagers;

Available copies: 3 / Total copies: 4

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Intruders [videorecording] / by Schindler, Adam,film directorfilm editor.; Cimfel, T. J.,screenwriter.; White, David K.,screenwriter.; Starr, Martin,1982-actor.(CARDINAL)341191; Riesgraf, Beth,actor.(CARDINAL)787485; Culkin, Rory,actor.(CARDINAL)848208; Jimenez, Leticia,actor.; Kesy, Jack,actor.(CARDINAL)357090; Entertainment One (Firm : Canada),publisher.(CARDINAL)340319; Room 101, Inc.producer; Vicarious, Inc.producer;

Music, Frederik Wiedmann ; editors, Adam Schindler, Brian Netto ; director of photography, Eric Leach.Beth Riesgraf, Martin Starr, Rory Culkin, Leticia Jimenez, Jack Kesy.Anna suffers from agoraphobia so crippling that when a trio of criminals break into her house, she cannot bring herself to flee. But what the intruders don't realize is that agoraphobia is not her only psychosis.MPAA rating: R; for violence and language.DVD, region 1, 16x9 widescreen (2.40:1) presentation ; Dolby digital 5.1 surround.

Subjects: Feature films.; Horror films.; Thrillers (Motion pictures).; Fiction films.; Video recordings for the hearing impaired.; Agoraphobia; Psychoses; Burglars; Burglary;

Available copies: 3 / Total copies: 4

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Vincent & Theo [videorecording] / by Altman, Robert,1925-2006.drt(CARDINAL)517117; Boeken, Ludi.pro; Cassel, Jean-Pierre,1932-2007.act; Conroy, David.pro; Daly, John,1937-2008.pro; Gibson, Derek.pro; Kesting, Hans.act; Lépine, Jean,1948-cng; Mitchell, Julian,1935-author of screenplay.(CARDINAL)713015; Peroni, Geraldine.flm; Rhys, Paul.act; Roth, Tim.act(CARDINAL)528314; Steege, Johanna ter.act; Yared, Gabriel.cmp(CARDINAL)354019; Yordanoff, Wladimir.act; Arena Films (Firm); Belbo films.; Hemdale Film Corporation.; Metro-Goldwyn-Mayer.(CARDINAL)150193; MGM Home Entertainment Inc.(CARDINAL)533205; Sneak Reviews DVD Collection (University of Virginia);

From poverty to fame -- Early inspiration -- "Walk into the painting" -- Confronting a mentor -- Fiddling with paints -- "I don't own the gallery!" -- To Paris!/Falling in love -- Nerves and money stress -- On the road again -- Witnessing genius -- Gauguin pays a visit -- "Mr. Holy Spirit" -- Descent into madness -- Loyal brother -- Vincent's new doctor -- Meeting his benefactor -- Sanity & insanity -- No longer able to cope -- Artist's farewell -- Eternal bond/Credits.Director of photography, Jean Lepine ; edited by Françoise Coispeau, Geraldine Peroni ; music by Gabriel Yared ; production designer, Stephen Altman.Tim Roth (Vincent van Gogh), Paul Rhys (Theo van Gogh), Johanna Ter Steege (Jo Bonger), Wladimir Yordanoff (Paul Gauguin), Jip Wijngaarden (Sien Hoornik), Anne Canovas (Marie), Hans Kesting (Andries Bonger), Jean-Pierre Cassel (Dr. Paul Gachet).Inside and outside the claustrophobic art world of Paris in the late 19th century, two Dutch brothers try to make their mark. Vincent can only paint and rage. Soft souled, black-toothed, he spends his life in a series of barren rooms, taking his work as far as it can go. Theo can only try--mostly in vain for the length of both their lives--to sell his brother's work. Theo vicariously participates in his brother's art while working, marrying, and contracting syphilis like a 'normal' bourgeoisie. The brothers became the work: one brother who painted, and the other brother who believed that to support the painting was the most important thing he could possibly do with his lifetime.MPAA rating: Rated PG-13 ; Canadian Home Video rating: 14A.DVD; Region 1, NTSC; Dolby Digital mono.; widescreen presentation, aspect ratio 1.85:1, enhanced for 16x9 televisions.

Subjects: Biographical films.; Feature films.; Feature films.; Fiction films.; Historical films.; Video recordings for the hearing impaired.; Art and mental illness; Artists; Brothers; Creation (Literary, artistic, etc.); Families; Genius and mental illness; Mental illness; Painters; Painting, Dutch;

Available copies: 1 / Total copies: 1

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Félix González-Torres, Roni Horn / by González-Torres, Félix,1957-1996,artist.(CARDINAL)217534; Ault, Julie,writer of added commentary.(CARDINAL)269961; Horn, Roni,1955-artist.(CARDINAL)161155; Bourse de commerce-Pinault collection,host institution.(CARDINAL)883579; Group Material (Firm : New York, N.Y.),associated name.(CARDINAL)883014; Steidl Verlag,publisher.(CARDINAL)835949;

"In 1990, Félix González-Torres encountered an artwork by Roni Horn called Gold Field (1980/82), a simple sheet of gold foil placed on the floor of the Los Angeles Museum of Contemporary Art. González-Torres was deeply moved and wrote to Horn, beginning an exchange between the artists that would last until González-Torres' passing in 1996. 'Félix González-Torres Roni Horn' was created as a photographic essay with the intention of sharing the experiential qualities of the artists' work and the profound relationships underlying it. It explores four iconic works (among others) - Untitled (For Stockholm) (1992) and Untitled (Blood) (1992) by González-Torres, and Well and Truly (2009-10) and a.k.a. (2008-09) by Horn - and emphasizes notions of doubling, duality, repetition, and identity. Images of these pieces, taken on the occasion of a 2022 exhibition at the Bourse de Commerce-Pinault Collection in Paris, reveal both artists' radical visual vocabularies, as well their shared passion for language, writing and poetry. Their intention emerges as two-fold: to create a tension between artist, viewer and object; and to grasp the inexpressible, the immeasurable." - From publisher.This exhibition highlights the principles of duplication, duality, complexity in repetition and identity at work in the respective practices of the artists Félix González-Torres and Roni Horn. It retraces the artistic conversation that began between them in 1991 and continued until González-Torres's death in 1996."Felix Gonzalez-Torres was born in Guáimaro, Cuba, in 1957. He earned a BFA in photography from Pratt Institute in Brooklyn, New York, in 1983. Printed Matter, Inc. in New York hosted his first solo exhibition the following year. After obtaining an MFA from the International Center of Photography and New York University in 1987, he worked as an adjunct art instructor at New York University until 1989. Throughout his career, Gonzalez-Torres's involvement in social and political causes as an openly gay man fueled his interest in the overlap of private and public life. From 1987 to 1991, he was part of Group Material, a New York-based art collective whose members worked collaboratively to initiate community education and cultural activism. His aesthetic project was, according to some scholars, related to Bertolt Brecht's theory of epic theater, in which creative expression transforms the spectator from an inert receiver to an active, reflective observer and motivates social action. Employing simple, everyday materials (stacks of paper, puzzles, candy, strings of lights, beads) and a reduced aesthetic vocabulary reminiscent of both Minimalism and Conceptual art to address themes such as love and loss, sickness and rejuvenation, gender and sexuality, Gonzalez-Torres asked viewers to participate in establishing meaning in his works. In his "dateline" pieces, begun in 1987, Gonzalez-Torres assembled lists of various dates in random order interspersed with the names of social and political figures and references to cultural artifacts or world events, many of which related to political and cultural history. Printed in white type on black sheets of paper, these lists of seeming non sequiturs prompted viewers to consider the relationships and gaps between the diverse references as well the construction of individual and collective identities and memories. Gonzalez-Torres also produced dateline "portraits," consisting of similar lists of dates and events related to the subjects' lives. In Untitled (Portrait of Jennifer Flay) (1992), for example, "A New Dress 1971" lies next to "Vote for Women, NZ 1893." Gonzalez-Torres invited physical as well as intellectual engagement from viewers. His sculptures of wrapped candies spilled in corners or spread on floors like carpets, such as "Untitled" (Public Opinion) (1991), defy the convention of art's otherworldly preciousness, as viewers are asked to touch and consume the work. Beginning in 1989, he fashioned sculptures of stacks of paper, often printed with photographs or texts, and encouraged viewers to take the sheets. The impermanence of these works, which slowly disappear over time unless they are replenished, symbolizes the fragility of life. While in appearance they sometimes echo the work of Donald Judd, these pieces also belie the Minimalist tenet of aesthetic autonomy: viewers complete the works by depleting them and directly engaging with their material. The artist always wanted the viewer to use the sheets from the stacks--as posters, drawing paper, or however they desired. In 1991 Gonzalez-Torres began producing sculptures consisting of strands of plastic beads strung on metal rods, like curtains in a disco. Titles such as Untitled (Chemo) (1991) and Untitled (Blood) (1992) undercut their festive associations, calling to mind illness and disease. In 1992 he commenced a series of strands of white low-watt lightbulbs, which could be shown in any configuration--strung along walls, from ceilings, or coiled on the floor. Alluding to celebratory décor--in the vein of the charms of outdoor cafés at night--these delicate garlands are also a campy commentary on the phallic underpinnings of numerous Minimalist creations, particularly Dan Flavin's rigid light sculptures. Also in 1992, Untitled (1991), a sensual black-and-white photograph of Gonzalez-Torres's empty, unmade bed with traces of two absent bodies, was installed on 24 billboards throughout the city of New York. This enigmatic image was both a celebration of coupling and a memorial to the artist's lover, who had recently died of AIDS. Its installation as a melancholic civic-scaled monument problematized public scrutiny of private behavior. Gonzalez-Torres received fellowships from the National Endowment for the Arts in 1989 and 1993. He participated in hundreds of group shows during his lifetime, including early presentations at Artists Space and White Columns in New York (1987 and 1988, respectively), the Whitney Biennial (1991), the Venice Biennale (1993), SITE Santa Fe (1995), and the Sydney Biennial (1996). Comprehensive retrospective exhibitions of his work have been organized by the Museum of Contemporary Art Los Angeles (1994); Solomon R. Guggenheim Museum (1995); Sprengel Museum Hannover, Germany (1997); and Biblioteca Luis-Angel Arango, Bogotá (2000). Other exhibitions have been held at the Hamburger Bahnhof-Museum für Gegenwart, Berlin (2006-07); PLATEAU, Seoul (2012); and Leeum, Samsung Museum of Art, Seoul (2012). A survey of his work, Specific Objects without Specific Form, was organized by WIELS, Centre d'Art Contemporain, Brussels (2010), and then traveled to the Fondation Beyeler, Basel (2010), and the Museum für Moderne Kunst Frankfurt am Main (2011). In 2007, Gonzalez-Torres was selected to represent the United States at the Venice Biennale in the exhibition Felix Gonzalez-Torres: America. He died in Miami on January 9, 1996." - Full biographies available on:"Roni Horn's work consistently generates uncertainty to thwart closure in her work. Important across her oeuvre is her longstanding interest to the protean nature of identity, meaning, and perception, as well as the notion of doubling; issues which continue to propel Horn's practice. Since the mid-1990s, Horn has been producing cast-glass sculptures. For these works, colored molten glass assumes the shape and qualities of a mold as it gradually anneals over several months. The sides and bottom of the resulting sculpture are left with the rough translucent impression of the mold in which it was cast. By stark contrast, the top surface is fire-polished and slightly bows like liquid under tension. The seductively glossy surface invites the viewer to gaze into the optically pristine interior of the sculpture, as if looking down on a body of water through an aqueous oculus. Exposed to the reflections from the sun or to the shadows of an overcast day, Horn's glass sculpture relies upon natural elements like the weather to manifest her binary experimentations in color, weight and lightness, solidity and fluidity. The endless subtle shifts in the work's appearance place it in an eternal state of mutability, as it refuses a fixed visual identity. Begetting solidity and singularity, the changing appearance of her sculptures is where one discovers meaning and connects her work to the concept of identity. For Horn, drawing is a primary activity that underpins her wider practice. Her intricate works on paper examine recurring themes of interpretation, mirroring and textual play, which coalesce to explore the materiality of color and the sculptural potential of drawing. Horn's preoccupation with language also permeates these works; her scattered words read as a stream of consciousness spiralling across the paper. In her 'Hack Wit' series, Horn reconfigures idiomatic turns of phrase and proverbs to engender nonsensical, jumbled expressions. The themes of pairing and mirroring emerge as she intertwines not only the phrases themselves but also the paper they are inscribed on, so that her process reflects the content of the drawings. Words are her images and she paints them expressionistically, which--combined with her method--causes letters to appear indeterminate, as if they are being viewed underwater.Notions of identity and mutability are also explored within Horn's photography, which tends to consist of multiple pieces and installed as a surround which unfolds within the gallery space. Examples include her series 'The Selected Gifts, (1974 - 2015),' photographed with a deceptively affectless approach that belies sentimental value. Here, Horn's collected treasures float against pristine white backdrops in the artist's signature serial style, telling a story of the self as mediated through both objects and others--what the artist calls 'a vicarious self-portrait.' This series, alongside her other photographic projects, build upon her explorations into the effects of multiplicity on perception and memory, and the implications of repetition and doubling, which remain central to her work."- Artist statement from:"The art practice of Julie Ault encompasses many roles not typically associated with the visual artist, including that of archivist, curator, editor, and theorist. Invited to assemble a "show within a show" for the 2014 Biennial, Ault selected as points of entry works by David Wojnarowicz (1954-1992) and Martin Wong (1946- 1999) from the Whitney's permanent collection, exhibiting them alongside artifacts from these artists' personal archives, held by the Downtown Collection at New York University's Fales Library. Both Wojnarowicz and Wong were active in New York during the 1980s and early '90s, when Ault was a member of the influential artists' collaborative Group Material. Ault has since maintained her commitment to a practice defined by collaboration, exchange, community and research, tracing vital links between art and politics. Departing from the dominant narratives that have sought to represent the era of Wong and Wojnarowicz as a period marked primarily by the AIDS crisis and the culture wars, Afterlife: a constellation recontextualizes their work in this atmospheric installation, whose geographical compass extends from downtown New York to the Sierra Nevada. A range of voices, energies, artworks, artifacts, and texts, all displayed as equal participants, invoke themes of disappearance and regeneration and the notion that subjectivity is an integral dimension of archiving and historical representation. The works on view in the Biennial include a photograph related to the Donner Party migration; entryway mirrors inspired by the ones that adorned Liberace's mansion in Las Vegas; copies by James Benning of a ledger drawing by Black Hawk (1832-1890?) alongside a hand-lettered sign by Jesse Howard (1885-1983); a book by Martin Beck about David Mancuso's "The Loft" communal dance parties; a slide show by Matt Wolf that explores Wojnarowicz's personal archive of ephemera; a heliogravure by Danh Vo of the newspaper announcement of the marriage of Barbara Bush (née Pierce); a poetic misfile as sculpture by Robert Kinmont; an interview with the founder of the Downtown Collection, Marvin Taylor; and textual elements written and compiled by Ault." - From:

Subjects: Exhibition catalogs.; González-Torres, Félix, 1957-1996; Horn, Roni, 1955-; Art, Modern; Artistic collaboration; Gay artists.; Lesbian artists.; Gay art.; Lesbian art.; LGBTQ+ artists.; LGBTQ+ arts.; Queer (Verb); Queer art.; Queer artists.; Gay artists.; Lesbian artists.;

Available copies: 1 / Total copies: 1

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