"Color Transparency" is an imaginary score for a color flicker film composed on the grid of a photographic tableau: a still-life of motion picture phenomena. The 35mm plastic slide mounts, color gels, and florescent light box are all found objects. Each slide was created by hand using Rosco Cinegel brand gels. The original purpose of color gels (not to be confused with "color slides") varies depending on the particular usage, and of course, a quick web search on "color gel" should provide a rough and ready guide on this matter. More relevant to our sculptural tableau, in light of the industrial technique of cinema, would be the practice of "color timing" or "color grading.” Though gels are not necessarily used in color timing, we imagine that "Color Transparency" is suggestive for the p.o.v. of the lab technician in their ability to abstract color field data from their photographic media. The thinking behind the grid-like arrangement of the slides is to prevent the eye from fixating on any single monochromatic field in particular. In this way it goes against the photographic “grain" of scrutinizing the specimen slide itself – contrary, that is, to precisely what the slide illuminated via light box with loupe pressed against the eye was designed to achieve.
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About Sandra Gibson and Luis RecoderView Profile »
Sandra Gibson and Luis Recoder stage the scene of film as orphaned object through the temporal labor of moving image installation. Collaborators since 2000, Gibson and Recoder unite the rich traditions of the experimental film, particularly its structuralist and materialist strands, and the multi-modal sensibility of expanded cinema that emerged in the 1960s, in which the moving image was woven into the labile space of performance, sound and audience interaction. Their larger body of work explores this interstice between avant-garde film practice and the incorporation of moving images and time-based media into the museum and art gallery.
Based in New York, Gibson and Recoder have exhibited and performed internationally at the Whitney Museum of American Art, MoMA PS1, Mad. Sq. Art, Performa, Light Industry, The Kitchen, Anthology Film Archives, Microscope Gallery, Brooklyn Bridge Park, Hallwalls, Berkeley Art Museum and Pacific Film Archive, REDCAT, Ballroom Marfa, Robischon Gallery, Sundance Film Festival, CATE, Contemporary Art Museum St. Louis, Sagamore, Toronto International Film Festival, Images Festival, BFI London Film Festival, Tate Modern, Barbican Art Gallery, ICA, Dundee Contemporary Arts, Galerie Peter Kilchmann, Viennale, Austrian Film Museum, Schirn Kunsthalle Frankfurt, Internationale Kurzfilmtage Oberhausen, HMKV, RIXC, 25FPS, Courtisane, M HKA, STUK, BOZAR, TENT, International Film Festival Rotterdam, Reina Sofia, La Casa Encendida, CCCB, Museu do Chiado, Serralves Foundation, Solar Galeria de Arte Cinemática, Careof/Viafarini DOCVA, Atelier Impopulaire, Morra Foundation, Nam June Paik Art Center, Yokohama Museum of Art, and the 21st Century Museum of Contemporary Art.
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Online bidding for this work ended on November 15, 2014 at 3:00pm ET.
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