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ahistory
Bruce and Norman Yonemoto
1992, 1 min, color, sound
More Info
Description
Ordering & Fees
Documents
Titles by Bruce & Norman Yonemoto
+
An Impotent Metaphor
Based on Romance
Blinky
Green Card: An American Romance
Japan in Paris in L.A.
Kappa
Made in Hollywood
Papa
Spalding Gray's Map of L.A.
ahistory
TRANS-VOICES
Vault
Description
Ordering & Fees
Documents
Titles by Bruce & Norman Yonemoto
+
An Impotent Metaphor
Based on Romance
Blinky
Green Card: An American Romance
Japan in Paris in L.A.
Kappa
Made in Hollywood
Papa
Spalding Gray's Map of L.A.
ahistory
TRANS-VOICES
Vault
ahistory
Bruce and Norman Yonemoto
1992, 1 min, color, sound
Documents
Broadcasting: EAI at ICA
Press Release
SHORT SHORTS
Press Release
Press release for SHORT SHORTS EAI's summer screening in August 2010.
Also available on
TRANS-VOICES
1992, 24 min, color, sound
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\"short_desc\": \"Europe's enchantment with American consumer culture is depicted, as well-known European architectural landmarks. The Eiffel Tower, the Acropolis, and London Bridge are reflected in the glossy surface of a 1960's Cadillac convertible, the ultimate symbol of the \\"golden age\\" of American consumerism.\",
\"long_desc\": \"Europe's enchantment with American consumer culture is depicted, as well-known European architectural landmarks — the Eiffel Tower, the Acropolis, London Bridge — are reflected in the glossy surface of a 1960's Cadillac convertible, the ultimate symbol of the \\"golden age\\" of American consumerism.\",
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\"long_desc\": \"This international public art project reflects a broad spectrum of cultural, national, racial and ethnic diversity in America and France today. Created by seven American and seven French artists, these 60-second \\"spots\\" are transcultural investigations into national and cultural identity, video messages about political and social shifts at the close of the 20th century. Produced by the American Center, Paris, with the Whitney Museum of American Art and the Public Art Fund.\r\n<p><br>\r\n<strong>A Tale of Two Cities<\/strong><br>\r\nby <a href=\\"artistTitles.htm?id=481\\"><b>Nam June Paik<\/b><\/a> and Paul Garrin<\/p> \r\n<p>\r\nTelevision on speed, Nam June Paik's <em>A Tale of Two Cities<\/em> is a potpourri \r\nof pop personalities, avant-garde antics and international cultural kitsch, where \r\npast, present and future collide in the kaleidoscopic, hyper-kinetic, televisually \r\n\\"now.\\" <\/p>\r\n<p>\r\n<strong>ahistory<\/strong><br>\r\nby <a href=\\"artistTitles.htm?id=314\\"><b>Bruce and Norman Yonemoto<\/b><\/a><\/p> \r\n<p>\r\nEurope's enchantment with American consumer culture is depicted, as well-known European architectural landmarks — the Eiffel Tower, the Acropolis, London Bridge — are reflected in the glossy surface of a 1960's Cadillac convertible, the ultimate symbol of the \\"golden age\\" of American consumerism. <br><br>\r\n<strong>Amnesia<\/strong><br>\r\nby <a href=\\"artistTitles.htm?id=457\\"><b>Beth B<\/b><\/a><\/p>\r\n<p>\r\nA chilling cautionary tale, Amnesia is a stark and uncompromising portrayal of the escalation of xenophobic sentiment in the current neo-conservative climate of both France and the U.S. <\/p>\r\n<p>\r\n<strong>Blown Up<\/strong><br>\r\nby Angela Melitopoulos<\/p> \r\n<p>\r\nWith reflected images of classic American myths and ideals Melitopoulos suggests that many cultural assumptions, reinforced by mass media, are obsolete, and that notions of geopolitics must be revised. <\/p>\r\n<p>\r\n<strong>Circular Rites<\/strong><br>\r\nby Nil Yalter <\/p>\r\n<p>\r\nYalter purposefully intercuts images of herself (a woman of Turkish descent) with \r\na succession of modern Arab women protesting in the streets. With an evocative \r\nsoundtrack of women's voices, this arresting collage of visuals and spoken text \r\nconveys the multicultural aspect of today's Europe.<\/p>\r\n<p>\r\n<strong>Europe Feed Back Day<\/strong><br>\r\nby Patrick de Geetere and Cathy Wagner<\/p> \r\n<p>\r\nThe artists adopt the insidious techniques of advertising to question the manipulative power, global profusion and destructive values of commercial messages.<\/p>\r\n<p>\r\n<strong>Fire! The Memory<\/strong><br>\r\nby Pierre Lobstein<\/p> \r\n<p>\r\nRecreated images of the conquest of the Americas serve as the backdrop for this stinging indictment of European annexation.<\/p> \r\n<p>\r\n<strong>Happy New Order<\/strong><br>\r\nby Canal Dechaine<\/p> \r\n<p>\r\nWith computer artist Olivia Tele Clavel, Dechaine reworks archetypal images from \r\nrecent American history depicting moments in the fight for human dignity — of protest, \r\nresistance and displays of pride and outrage.<\/p> \r\n<p>\r\n<strong>Jamais l'un sans l'autre (Never one without the other)<\/strong><br>\r\nby Benoit Carre<\/p> \r\n<p>\r\nCarre describes this piece as \\"... an attempt to show how technology intervenes in all of our physical and social relationships.\\"<\/p> \r\n<p>\r\n<strong>Nation<\/strong><br>\r\nby <a href=\\"artistTitles.htm?id=282\\"><b>Tom Kalin<\/b><\/a><\/p> \r\n<p>\r\nThis highly stylized and deftly edited provocation features a cast of performers, \r\ndiverse in national origin, who recite a litany of statements meant to challenge \r\nviewers' secure notions of national identity. Kalin asserts that bodies are very \r\nreal battlegrounds, territories that are contested and controlled by the same \r\npolitical forces that determine borders or set national policies. <\/p> \r\n<p>\r\n<strong>Paradigm Shift<\/strong><br>\r\nby <a href=\\"artistTitles.htm?id=453\\"><b>Philip Mallory Jones<\/b><\/a><\/p> \r\n<p>\r\nThis poetic meditation on the cultures of the African diaspora is a richly visualized collage of sounds and images derived from African cosmology, tracing the long historical struggle to define a trans-cultural African race.<\/p> \r\n<p>\r\n<strong>Transgressions<\/strong><br>\r\nby <a href=\\"artistTitles.htm?id=430\\"><b>Dara Birnbaum<\/b><\/a><\/p> \r\n<p>\r\nBirnbaum swiftly traces the geopolitical history of the U.S and then France, charting their constant reconfigurations across maps rendered malleable through special effects. A densely layered soundtrack guides the viewer through this \\"anti-terrain,\\" in which boundaries are arbitrary and national identities unstable.<\/p> \r\n<p>\r\n<strong>Two Faces of One Room<\/strong><br>\r\nby <a href=\\"artistTitles.htm?id=371\\"><b>Victor Masayesva, Jr.<\/b><\/a><\/p> \r\n<p>\r\nTwo sacred architectural structures of two dissimilar cultures — the kiva of the \r\nNative American and the cathedral of Western Europe — are juxtaposed to contemplate \r\ntheir cultural and spiritual differences.<\/p>\r\n<p>\r\n<strong>Wanderers Nightsong<\/strong><br>\r\nby Michel Chion<\/p> \r\n<p>\r\nUsing the text of a brief poem by Goethe and the music of Franz Schubert, Chion asserts that the impulse to create poetry and beauty is a link between cultures.<\/p>\",
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\"short_bio\": \"California-based artists Bruce and Norman Yonemoto deconstruct and rewrite the hyperbolic vernacular with which the mass media constructs cultural mythologies. Ironically employing the image-language and narrative syntax of popular forms, such as soap opera, Hollywood melodrama and TV advertising, they work from \u201cthe inside out\u201d to expose the media\u2019s pervasive manipulation of reality and fantasy.\",
\"long_bio\": \"California-based artists Bruce and Norman Yonemoto, brothers who produced a body of collaborative videos beginning in 1976, deconstruct and rewrite the hyperbolic vernacular with which the mass media constructs cultural mythologies. Ironically employing the image-language and narrative syntax of popular forms such as soap opera, Hollywood melodrama and television advertising, the Yonemotos work from \u201cthe inside out\u201d to expose the media\u2019s pervasive manipulation of contemporary reality and fantasy, individual and collective identity. \r\n\r\nIn their highly stylized, deadpan fictions, they decode the tropes of cinematic and television formulas, self-consciously appropriating the artifice and cliches of this \u201cmedia delirium\u201d as metaphor. In their ironic psychosexual melodramas, including <i>Vault<\/i> (1984) and <i>Kappa<\/i> (1986), they decipher the Freudian symbology, psychoanalytic strategies and Surrealist tactics that underlie media representations and narrative texts. The Hollywood myth of romantic love, and its role in the construction of personal desire and cultural memory, recurs throughout their work. \r\n\r\nThe Yonemotos\u2019 critique of America's mediated culture is informed by their Japanese-American heritage, their youth in Silicon Valley and their relationship to the Hollywood entertainment industry. They write, \u201cOnly by understanding the contents and strategies of metatextual nonsense can we hope to put our postmodern spectacle into a new and constructive context.\u201d\r\n\r\nThe Yonemotos have also produced collaborative multi-media installations, many of which address issues of Japanese-American identity in the context of popular media representation, history, and autobiography. In these installations, as in their narrative fictions, the Yonemotos locate meaning in the interstices between myth and memory. In recent years they have also produced videos and installations independently. \r\n\r\nBruce Yonemoto was born in 1949. He studied at the University of California at Berkeley and Sokei Art Institute in Tokyo, and received an M.F.A. from Otis Art Institute in Los Angeles. He has taught video and photography at universities in California and Japan, and has been a contributing writer for publications such as <i>SEND<\/i> and <i>Artweek<\/i> magazines. He is currently a Professor and Chair, Studio Art, at University of California, Irvine.\r\n\r\nNorman Yonemoto was born in 1946 and died in 2014. He studied film at Santa Clara University, the University of California at Berkeley, the University of California at Los Angeles, and the American Film Institute. He was a contributing writer for Artweek magazine, and was the author of the commercial films <i>Chatterbox<\/i> (1976) and <i>Savage Streets<\/i> (1983). \r\n\r\nBruce and Norman Yonemoto co-founded KYO-DAI Productions in 1976. In 1999 a mid-career retrospective of their collaborative work was held at the Japanese American National Museum in Los Angeles. Their work has been exhibited extensively around the world, including at the Japanese American\r\nNational Museum, Los Angeles; in <em>California Video<\/em> at the Getty Research Institute, Los Angeles; the Long Beach Museum of Art, California; 11th Paris Biennale; Los Angeles Contemporary Exhibitions (LACE); Hara Museum of Contemporary Art, Tokyo; Image Forum, Tokyo; Whitney Museum of American Art, New York; American Film Institute National Video Festival, Los Angeles; The Museum of Modern Art, New York; the Corcoran Gallery of Art, Washington DC, the Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York; Santa Monica Museum of Art; Wexner Center for the Arts, Columbus, Ohio; and Kunstverein, Cologne, Germany.\r\n\r\nAmong their awards are a Media Arts Fellowship from the Rockefeller Foundation, a production grant and a Visual Arts Fellowship from the National Endowment for the Arts, a Phelan Award for Video Art\/Docu-Drama, and grants from the Rocky Mountain Institute of Film and Video and Zweites Deutsches Fernsehen (German Television). \r\n\r\nBruce Yonemoto lives in Los Angeles.\",
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\"html\": \"<html>\r\n<head>\r\n<title>Broadcasting: EAI at ICA<\/title>\r\n\r\n<meta http-equiv=\\"Content-Type\\" content=\\"text\/html; charset=iso-8859-1\\" \/>\r\n <style type=\\"text\/css\\">\r\n t.left {}\r\n h.red {font-family:Helvetica, Arial, Verdana, sans-serif; font-weight:bold; color:#990000}\r\n p.two {line-height:200%;}\r\n p.onefive {font-family:Verdana, Arial, Helvetica, sans-serif; font-size:10px; line-height:200%; color:#000000}\r\n p.normalbold {font-family:Verdana, Arial, Helvetica, sans-serif; font-size:11px; line-height:150%; color:#000000; margin-top:0; border:0}\r\n p.twelvebold {font-family:Verdana, Arial, Helvetica, sans-serif; font-size:12px; line-height:150%; color:#000000; margin-top:0; border:0}\r\n p.normal {font-family:Verdana, Arial, Helvetica, sans-serif; font-size:10px; line-height:150%; color:#000000}\r\n a:link {color:#000000; text-decoration:none;} \/* unvisited link *\/\r\n a:visited {color:#000000; text-decoration:none;} \/* visited link *\/\r\n a:hover {color:#000000; text-decoration:none;} \/* mouse over link *\/\r\n a:active {color:#000000; text-decoration:none;} \/* selected link *\/\r\n <\/style>\r\n<\/head>\r\n\r\n<body>\r\n <img src= \\"https:\/\/www.eai.org\/user_files\/images\/public_program\/EAI%20ICA%20card.jpg\\" width=\\"500\\" hspace=\\"0\\" vspace=\\"0\\" border=\\"0\\"\/>\r\n <br \/>\r\n <br \/>\r\n<p class=\\"twelvebold\\"> \r\nThrough March 25th. \r\n <br \/>\r\n <br \/>\r\nElectronic Arts Intermix (EAI) is pleased to co-present <i>Broadcasting: EAI at ICA<\/i> at the Institute of Contemporary Art (ICA), Philadelphia, February 2nd through March 25th. Featuring works by artists including Robert Beck, Dara Birnbaum, Tony Cokes, Ulysses Jenkins, JODI, Shigeko Kubota, Kristin Lucas, Shana Moulton, Trevor Shimizu, and TVTV, the exhibition will focus on how artists exploit the act of broadcasting as a subject, as a means of intervention, and as a form of participation across a variety of displays. \r\n<br>\r\n <br \/>\r\nThe word \u201cbroadcast\u201d originated as an agricultural term meaning to disperse seeds widely, but became a figurative description for communications technology in the radio age. In the television era, with which broadcasting is most synonymous, the introduction of personal video equipment fostered a more dynamic interpretation, facilitating a two-way flow of information that resonates with contemporary participatory media. In this spirit, the physical walls of the gallery will extend beyond ICA through a series of collaborations with Lightbox Film Center, PhillyCAM, Scribe Video Center, Slought, Anthology Film Archives, EAI, and EMPAC. \r\n <br \/>\r\n <br \/>\r\n<i>Broadcasting: EAI at ICA<\/i> is co-curated by Alex Klein, Dorothy & Stephen R. Weber (CHE\u201960) Curator, ICA and Rebecca Cleman, Director of Distribution, Electronic Arts Intermix (EAI)\r\n <br \/>\r\n <br \/>\r\n<font face=\\"Verdana, Arial, Helvetica, sans-serif\\" size=\\"2\\">\r\n<div style=\\"text-align: center;\\"><strong>Related Programs in New York City<\/strong><\/div><\/p><\/font>\r\n <br \/>\r\n\r\n<p class=\\"twelvebold\\"> \r\n2\/16:<em><strong>On the Air: Artist Television<\/strong><\/em><br>\r\n<u>Anthology Film Archives<\/u>, 7:30 PM<br>\r\nThis edition of Anthology's ongoing series focused on artist-led television experiments. Expect surprises, innovations, and the unclassifiable — including Ernie Kovacs, Stan Douglas, Chris Burden, Dara Birnbaum, and more.<\/p>\r\n<br>\r\n\r\n<p class=\\"twelvebold\\"> \r\n3\/22: <em><strong>Ulysses Jenkins: Artist Talk and Screening<\/strong><\/em><br>\r\n<u>Electronic Arts Intermix (EAI)<\/u>, 7 PM<br>\r\nEAI is pleased to present an evening with Ulysses Jenkins, featuring rarely screened videos that demonstrate Jenkins's singular work in video and communications technologies. Following the screening, Jenkins will be in conversation with EAI's Director of Distribution, Rebecca Cleman.<\/p>\r\n<br>\r\n\r\n<font face=\\"Verdana, Arial, Helvetica, sans-serif\\" size=\\"2\\">\r\n<div style=\\"text-align: center;\\"><strong>Related Programs in Philadelphia<\/strong><\/div><\/font>\r\n<br>\r\n\r\n\r\n<table width=\\"100%\\" border=\\"0\\" cellspacing=\\"5\\" cellpadding=\\"0\\" align=\\"left\\">\r\n <tr>\r\n\r\n <td valign=\\"top\\">\r\n<p class=\\"twelvebold\\">\r\n2\/7: <em><strong>Broadcasting: Means of Production<\/strong><\/em><br>\r\n<u>ICA Galleries<\/u>, 6:30 PM<br>\r\nA conversation with artists Tony Cokes and Antoine Catala, focused on how media artists approach the production and distribution of their work. This event will be recorded live for broadcast, via PhillyCAM.\r\n<br>\r\n<br>\r\n2\/28:<em><strong>Broadcasting: Variety Show Special<\/strong><\/em>\r\n<u>Lightbox Film Center<\/u>, 7 PM<br>\r\nExtending the exhibition beyond the walls of the gallery, this screening will consider the legacy of television personality Ernie Kovacs (whose first appearances were on NBCs Philadelphia affiliate) within a larger context of artists making work for or about broadcast, from performative interventions to critiques of representation within mass media.\r\n<br>\r\n<br>\r\n3\/18: <em><strong>Community Visions Retrospective<\/strong><\/em><br>\r\n<u>Scribe Video Center<\/u>, 12:30 PM<br>\r\nSince 1990, Scribe Video Center has guided over 75 community and activist organizations through the production of short documentaries and neighborhood portraits—this program will be a retrospective of selected works produced through the Community Visions program.\r\n<\/p>\r\n <\/td>\r\n\r\n\r\n <td valign=\\"top\\">\r\n <p class=\\"twelvebold\\">\r\n2\/17 - 3\/25: <em><strong>Broadcasting: Guerrilla Media<\/strong><\/em><br>\r\n<u>Slought<\/u><br>\r\nAn extension of the exhibition, exploring activist strategies undertaken by media collectives such as TVTV, Video Venice News, Squat Theater, and Paper Tiger TV.\r\n<br>\r\n<br>\r\n3\/2: <em><strong>Broadcasting: Alternative Television<\/strong><\/em><br>\r\n<u>PhillyCAM Studios<\/u>, 7 PM <br>\r\nJust in time for awards season: a First Friday Live Culture event that revisits the satirical documentary TVTV Looks at the Oscars (1976) by the guerrilla television collective TVTV, featuring Lily Tomlin, among other Hollywood notables. This event will be recorded live for broadcast, via PhillyCAM.\r\n<br>\r\n<br>\r\n3\/21: <em><strong>Broadcasting: Transmission<\/strong><\/em><br>\r\n<u>ICA Galleries<\/u>, 6:30 PM<br>\r\nIn our final conversation of the series we will consider various technologies of transmission not just as a mode of viewership, but as a tool of communication. With artists Ulysses Jenkins and Sondra Perry.<\/p>\r\n <\/td>\r\n <\/tr>\r\n<\/table>\r\n\r\n <br \/>\r\n <br \/>\r\n <br \/>\r\n <br \/>\r\n<font face=\\"Verdana, Arial, Helvetica, sans-serif\\" size=\\"2\\">\r\n<div style=\\"text-align: center;\\"><strong>Related Programs in New York State<\/strong><\/div><\/font>\r\n<br>\r\n <p class=\\"twelvebold\\">\r\n3\/26: <em><strong>Ulysses Jenkins<\/strong><\/em><br>\r\n<u>EMPAC<\/u>, 7 PM<br>\r\nOrganized as part of the Other Uses film series, Ulysses Jenkins will screen work made from 1970s until present, beginning with his filming of the Watts festival.<\/p>\r\n\r\n <br>\r\n <br>\r\n\r\n<p class=\\"onefive\\">\r\n <strong>About EAI<\/strong>\r\n <br \/> \r\nElectronic Arts Intermix (EAI) is a nonprofit arts organization that fosters the creation, exhibition, distribution, and preservation of moving image art. A New York-based international resource for media art and artists, EAI holds a major collection of over 3,500 new and historical media artworks, from groundbreaking early video by pioneering figures of the 1960s to new digital projects by today's emerging artists. EAI works closely with artists, museums, schools and other venues worldwide to preserve and provide access to this significant archive. EAI services also include viewing access, educational initiatives, extensive online resources, technical facilities, and public programs such as artists' talks, screenings, and multi-media performances. EAI's Online Catalogue is a comprehensive resource on the artists and works in the EAI collection, and features expansive materials on media art's histories and current practices: \r\n <strong><a href=\\"http:\/\/www.eai.org\\" target=\\"_blank\\">www.eai.org<\/a><\/strong>\r\n <\/font>\r\n<\/p> \r\n \r\n<br \/><br \/>\r\n\r\n<\/html>\",
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