Beginning on October 28, 2016, and running through February 5, 2017, The Whitney Museum of American Art will be presenting an exhibition entitled “Dreamlands: Immersive Cinema and Art, 1905–2016.” Four years in the making, the exhibit focuses on the ways in which artists have dismantled and reassembled the conventions of cinema—and compels patrons to interact with many of the art installations. Besides being able to view concept art from classic films like Fantasia and Blade Runner, visitors will be able to watch a video made with a 360-degree camera projected inside the ceiling of a cardboard geodesic dome (and via Oculus Rifts); explore an entire art installation in 3-D; and “step inside” a screen and “become” a part of it. Take an advanced tour of some of the exhibits below. To plan your visit to the Whitney, click here.
Oskar Schlemmer [1888–1943], ‘Das Triadische Ballett,’ 1970; 35mm film transferred to video, color, sound; 29 min. (Courtesy Global Screen, Munich; produced by Bavaria Atelier for the Südfunk, Stuttgart, in collaboration with Inter Nationes and RTB [Belgian Television]; director: Helmut Amann; choreography and costume designs: Oskar Schlemmer, 1922; Artistic advisors: Ludwig Grote, Xanti Schwinsky, and Tut Schlemmer; ©1970 Bavaria Atelier for SWR in collaboration with Inter Nationes and RTB) Hito Steyerl [b. 1966], ‘Factory of the Sun,’ 2015; video, color, sound; 21 min., looped; with environment, dimensions variable (Collection of the artist; courtesy Andrew Kreps Gallery, New York; installation view, German Pavilion, 56th Venice; ‘Biennale,’ 2015, photograph by Manuel Reinartz; image courtesy the artist and Andrew Kreps Gallery, New York) Trisha Baga [b. 1985], ‘Flatlands,’ 2010; video, color, sound; 18 min., with disco ball and 3-D glasses (Whitney Museum of American Art, New York; purchase with funds from the Film, Video, and New Media Committee T.2016.161. Installation view, Greene Naftali, New York, 2011. © Trisha Baga and Greene Naftali, New York) Alex Da Corte [b. 1980] with Jayson Musson [b. 1977], ‘Still from Easternsports,’ 2014; four-channel video, color, sound; 152 min., with four screens, neon, carpet, vinyl composition tile, metal folding chairs, artificial oranges, orange scent, and diffusers. Score by Devonté Hynes. (Collection of the artists; courtesy David Risley Gallery, Copenhagen, and Salon 94, New York. © Alex Da Corte; image courtesy the artist) Alex Da Corte [b. 1980] with Jayson Musson [b. 1977], ‘Easternsports,’ 2014; four-channel video, color, sound; 152 min., with four screens, neon, carpet, vinyl composition tile, metal folding chairs, artificial oranges, orange scent, and diffusers. Score by Devonté Hynes. (Collection of the artists; courtesy David Risley Gallery, Copenhagen, and Salon 94, New York. Installation view, Institute of Contemporary Art, University of Pennsylvania, 2014 © Alex Da Corte; image courtesy the artist and Institute of Contemporary Art, University of Pennsylvania) Lynn Hershman Leeson [b. 1941], ‘Water Women 7,’ 1978; collaged photographs with mirrors on vellum, 13 1/2 x 8 in. [34.3 x 20.3 cm]. (Collection of the artist; courtesy Bridget Donahue Gallery, New York © Lynn Hershman Leeson; photographs by Marc Brems Tatti; images courtesy Bridget Donahue Gallery, New York) Lynn Hershman Leeson [b. 1941], ‘Double Drawing,’ 1966 [recto]; ink, colored pencil, transfer type, watercolor, collaged gelatin silver prints, and plastic on paper, 8 x 4 in. [20.3 x 10.2 cm] (Collection of the artist; courtesy Bridget Donahue Gallery, New York © Lynn Hershman Leeson; photographs by Marc Brems Tatti; images courtesy Bridget Donahue Gallery, New York) Lynn Hershman Leeson [b. 1941], ‘X-Ray Woman,’ 1963; acrylic, graphite, and ink on canvas, 36 5/8 x 19 1/4 in. [93 x 48.8 cm] (Collection of the artist; courtesy Bridget Donahue Gallery, New York © Lynn Hershman Leeson; photographs by Marc Brems Tatti; images courtesy Bridget Donahue Gallery, New York)
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