Programmed: Rules, Codes, and Choreographies in Art, 1965–2018

Sept 28, 2018–Apr 14, 2019


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Signal, Sequence, Resolution:
Image Resequenced

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Several of the “programmed” works here reflect on how rules and code are used to rearrange images. Nam June Paik’s massive wall of televisions, Fin de Siècle II, for example, choreographs music videos and “dissolves” the television program into combinations of dancing patterns, providing a different framework to understand broadcasting. Other works resequence images while engaging with such varied subject matter as image processing, interactive storytelling, and political commentary. Steina’s multichannel video installation Mynd investigates the aesthetic effects of software processing, while Lynn Hershman Leeson’s interactive installation Lorna prompts visitors to navigate a branching narrative with multiple endings and the two works from Barbara Lattanzi’s series C-Span x 4 annotate news reportage with subtitles borrowed from a political sci-fi film or karaoke-format song lyrics.

Steina, Mynd, 2000

Abstract green projections on a wall.
Abstract green projections on a wall.

Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April 14, 2019). Steina, Mynd, 2000. Photograph by Ron Amstutz

To create this immersive video installation, Steina used Image/ine, a video-editing software for Macintosh computers that she co-developed in 1996 to process video footage in real time. Unlike other video-editing programs, Image/ine allows for the immediate manipulation of source material. For this work, Steina’s base footage includes Icelandic landscapes, horses grazing, and images of the Atlantic Ocean. The programming language’s “time-warp” function edits the source material as horizontal or vertical lines traveling through the frame, while the “slit-scan” function freezes a single line in the frame, capturing it as a stream of running images. In this work, the two different kinds of processing appear projected next to each other, juxtaposing the two different processes of image manipulation.


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