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Leonardo 34.2 (2001)



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Plate A

No. 1. Jennifer Steinkamp, Gender Specific, 8 x 6 ft and 10 x 8 ft, 1989. (© Jennifer Steinkamp) The same pair of animations was rear-projected into the windows of two sites. A spinning polka-dot tunnel was positioned next to multiple orbiting Earths. Ideas of the feminine and masculine in architecture were playfully manipulated in order to blur gender demarcations. (Photo courtesy of ACME, Los Angeles)
No. 2. Makepeace Tsao, Untitled, acrylic on canvas, 24 x 10 in, 1975. (© Makepeace Tsao. Photo © Kelvin Tsao.) This work depicts the oil refinery off Interstate 80 between Rodeo and Richmond (California) at night. At the lower mid-ground are the cracking towers with their lights and flames. Storage tanks are shown in the foreground, and above is the smoke from the refinery. In the very bottom right-hand corner is a fish-shaped figure, which was the artist's signature. It is a stylized version of the Tsao family pictogram lying on its side. (See Editorial obituary by Karen Tsao.)

Plate B

No. 1. Xu Tan, Pig Dreaming, digital photo of installation, from the "Stir-fry" project website, Museum of Modern Art, New York, 1997. Tan, of the group Big Tail Elephant, writes in the text accompanying this work, "Knowledge is power. Is power power? In my dreams I become a pig with human brains and organs, and I possess enormous power. Figure that one out and you're in the class of Zhuang Zi, a legendary Chinese poet. In a dream he became a butterfly, but then wondered, maybe the butterfly became Zhuang Zi." (See Invited Review by Barbara London.)
No. 2. Two cameras recorded the 2-hour process of Nina Sobell sculpting Emily Hartzell (with one camera on Hartzell, one on the sculpture); the video images were mixed live and streamed over the Web to a gallery. This image is composed of four of the stills from that performance; later Sobell and Hartzell printed them out and created a montage installation. (© Emily Hartzell and Nina Sobell. Photo: Chere Jalali and Naoko Tanese.) (See Artists' Article by Nina Sobell and Emily Hartzell.)

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