Instagram Story Save

Another year of eye-opening texts on EAI’s features microsite!

Last fall, EAI and NYU’s Department of Media, Culture and Communication (MCC) co-presented Open Circuits Revisited, a series of events celebrating the 50th anniversary of Open Circuits: An International Conference on the Future of Television, held at MoMA in 1974. Through public lectures and screenings, we addressed the continued relevance of Open Circuits to our contemporary arts climate and considered video’s ongoing legacy through the core concerns of distribution, preservation, and accessibility.

We kicked off the weekend with a presentation by scholars Susan Murray (NYU) and Fred Turner (Stanford) on television cultures of the 1970s and their continued relevance to our current political, cultural, and technological landscape. EAI is pleased to publish the transcript alongside two commissioned essays by media art conservator Cass Fino-Radin and art historian and curator Kara Carmack. We’re also returning to conservator Emma Dickson’s essay, Hobbyists to the Front, from December 2024.

Carmack’s piece, “VT is not TV”: Early Video Art, Television, and the Politics of Broadcasting, addresses the inception of Manhattan public access television in July, 1971 while arguing for community access television (CATV) as an essential lens through which to frame the governmental interests, local politics, and artistic experiments from which early video art emerged. Fino-Radin’s essay, Open Circuits and Black Boxes: Artistic Responses to Technological Enclosure, traces shifts in media artists’ use of technology from Open Circuits to the present.

Find the essays at features.eai.org, or follow the links in our bio. Happy reading!

Another year of eye-opening texts on EAI’s features microsite!

Last fall, EAI and NYU’s Department of Media, Culture and Communication (MCC) co-presented Open Circuits Revisited, a series of events celebrating the 50th anniversary of Open Circuits: An International Conference on the Future of Television, held at MoMA in 1974. Through public lectures and screenings, we addressed the continued relevance of Open Circuits to our contemporary arts climate and considered video’s ongoing legacy through the core concerns of distribution, preservation, and accessibility.

We kicked off the weekend with a presentation by scholars Susan Murray (NYU) and Fred Turner (Stanford) on television cultures of the 1970s and their continued relevance to our current political, cultural, and technological landscape. EAI is pleased to publish the transcript alongside two commissioned essays by media art conservator Cass Fino-Radin and art historian and curator Kara Carmack. We’re also returning to conservator Emma Dickson’s essay, Hobbyists to the Front, from December 2024.

Carmack’s piece, “VT is not TV”: Early Video Art, Television, and the Politics of Broadcasting, addresses the inception of Manhattan public access television in July, 1971 while arguing for community access television (CATV) as an essential lens through which to frame the governmental interests, local politics, and artistic experiments from which early video art emerged. Fino-Radin’s essay, Open Circuits and Black Boxes: Artistic Responses to Technological Enclosure, traces shifts in media artists’ use of technology from Open Circuits to the present.

Find the essays at features.eai.org, or follow the links in our bio. Happy reading!

Another year of eye-opening texts on EAI’s features microsite!

Last fall, EAI and NYU’s Department of Media, Culture and Communication (MCC) co-presented Open Circuits Revisited, a series of events celebrating the 50th anniversary of Open Circuits: An International Conference on the Future of Television, held at MoMA in 1974. Through public lectures and screenings, we addressed the continued relevance of Open Circuits to our contemporary arts climate and considered video’s ongoing legacy through the core concerns of distribution, preservation, and accessibility.

We kicked off the weekend with a presentation by scholars Susan Murray (NYU) and Fred Turner (Stanford) on television cultures of the 1970s and their continued relevance to our current political, cultural, and technological landscape. EAI is pleased to publish the transcript alongside two commissioned essays by media art conservator Cass Fino-Radin and art historian and curator Kara Carmack. We’re also returning to conservator Emma Dickson’s essay, Hobbyists to the Front, from December 2024.

Carmack’s piece, “VT is not TV”: Early Video Art, Television, and the Politics of Broadcasting, addresses the inception of Manhattan public access television in July, 1971 while arguing for community access television (CATV) as an essential lens through which to frame the governmental interests, local politics, and artistic experiments from which early video art emerged. Fino-Radin’s essay, Open Circuits and Black Boxes: Artistic Responses to Technological Enclosure, traces shifts in media artists’ use of technology from Open Circuits to the present.

Find the essays at features.eai.org, or follow the links in our bio. Happy reading!

Another year of eye-opening texts on EAI’s features microsite!

Last fall, EAI and NYU’s Department of Media, Culture and Communication (MCC) co-presented Open Circuits Revisited, a series of events celebrating the 50th anniversary of Open Circuits: An International Conference on the Future of Television, held at MoMA in 1974. Through public lectures and screenings, we addressed the continued relevance of Open Circuits to our contemporary arts climate and considered video’s ongoing legacy through the core concerns of distribution, preservation, and accessibility.

We kicked off the weekend with a presentation by scholars Susan Murray (NYU) and Fred Turner (Stanford) on television cultures of the 1970s and their continued relevance to our current political, cultural, and technological landscape. EAI is pleased to publish the transcript alongside two commissioned essays by media art conservator Cass Fino-Radin and art historian and curator Kara Carmack. We’re also returning to conservator Emma Dickson’s essay, Hobbyists to the Front, from December 2024.

Carmack’s piece, “VT is not TV”: Early Video Art, Television, and the Politics of Broadcasting, addresses the inception of Manhattan public access television in July, 1971 while arguing for community access television (CATV) as an essential lens through which to frame the governmental interests, local politics, and artistic experiments from which early video art emerged. Fino-Radin’s essay, Open Circuits and Black Boxes: Artistic Responses to Technological Enclosure, traces shifts in media artists’ use of technology from Open Circuits to the present.

Find the essays at features.eai.org, or follow the links in our bio. Happy reading!

Another year of eye-opening texts on EAI’s features microsite!

Last fall, EAI and NYU’s Department of Media, Culture and Communication (MCC) co-presented Open Circuits Revisited, a series of events celebrating the 50th anniversary of Open Circuits: An International Conference on the Future of Television, held at MoMA in 1974. Through public lectures and screenings, we addressed the continued relevance of Open Circuits to our contemporary arts climate and considered video’s ongoing legacy through the core concerns of distribution, preservation, and accessibility.

We kicked off the weekend with a presentation by scholars Susan Murray (NYU) and Fred Turner (Stanford) on television cultures of the 1970s and their continued relevance to our current political, cultural, and technological landscape. EAI is pleased to publish the transcript alongside two commissioned essays by media art conservator Cass Fino-Radin and art historian and curator Kara Carmack. We’re also returning to conservator Emma Dickson’s essay, Hobbyists to the Front, from December 2024.

Carmack’s piece, “VT is not TV”: Early Video Art, Television, and the Politics of Broadcasting, addresses the inception of Manhattan public access television in July, 1971 while arguing for community access television (CATV) as an essential lens through which to frame the governmental interests, local politics, and artistic experiments from which early video art emerged. Fino-Radin’s essay, Open Circuits and Black Boxes: Artistic Responses to Technological Enclosure, traces shifts in media artists’ use of technology from Open Circuits to the present.

Find the essays at features.eai.org, or follow the links in our bio. Happy reading!

Protect EAI’s longevity in the wake of NEA cuts. Link to donate in our bio.

The NEA supported our distribution program, which is central to our mission and allows us to share artworks from our collection to thousands of public institutions around the world. We look forward to continuing this program alongside educational and community partnerships, preservation activities, and free public events showcasing EAI’s collection alongside kindred artists and organizations.

We are dedicated to carrying EAI’s legacy long into the future and greatly appreciate your support, in whatever capacity is possible for you.

Protect EAI’s longevity in the wake of NEA cuts. Link to donate in our bio.

The NEA supported our distribution program, which is central to our mission and allows us to share artworks from our collection to thousands of public institutions around the world. We look forward to continuing this program alongside educational and community partnerships, preservation activities, and free public events showcasing EAI’s collection alongside kindred artists and organizations.

We are dedicated to carrying EAI’s legacy long into the future and greatly appreciate your support, in whatever capacity is possible for you.

Protect EAI’s longevity in the wake of NEA cuts. Link to donate in our bio.

The NEA supported our distribution program, which is central to our mission and allows us to share artworks from our collection to thousands of public institutions around the world. We look forward to continuing this program alongside educational and community partnerships, preservation activities, and free public events showcasing EAI’s collection alongside kindred artists and organizations.

We are dedicated to carrying EAI’s legacy long into the future and greatly appreciate your support, in whatever capacity is possible for you.

Protect EAI’s longevity in the wake of NEA cuts. Link to donate in our bio.

The NEA supported our distribution program, which is central to our mission and allows us to share artworks from our collection to thousands of public institutions around the world. We look forward to continuing this program alongside educational and community partnerships, preservation activities, and free public events showcasing EAI’s collection alongside kindred artists and organizations.

We are dedicated to carrying EAI’s legacy long into the future and greatly appreciate your support, in whatever capacity is possible for you.

Protect EAI’s longevity in the wake of NEA cuts. Link to donate in our bio.

The NEA supported our distribution program, which is central to our mission and allows us to share artworks from our collection to thousands of public institutions around the world. We look forward to continuing this program alongside educational and community partnerships, preservation activities, and free public events showcasing EAI’s collection alongside kindred artists and organizations.

We are dedicated to carrying EAI’s legacy long into the future and greatly appreciate your support, in whatever capacity is possible for you.

Protect EAI’s longevity in the wake of NEA cuts. Link to donate in our bio.

The NEA supported our distribution program, which is central to our mission and allows us to share artworks from our collection to thousands of public institutions around the world. We look forward to continuing this program alongside educational and community partnerships, preservation activities, and free public events showcasing EAI’s collection alongside kindred artists and organizations.

We are dedicated to carrying EAI’s legacy long into the future and greatly appreciate your support, in whatever capacity is possible for you.

Protect EAI’s longevity in the wake of NEA cuts. Link to donate in our bio.

The NEA supported our distribution program, which is central to our mission and allows us to share artworks from our collection to thousands of public institutions around the world. We look forward to continuing this program alongside educational and community partnerships, preservation activities, and free public events showcasing EAI’s collection alongside kindred artists and organizations.

We are dedicated to carrying EAI’s legacy long into the future and greatly appreciate your support, in whatever capacity is possible for you.

Protect EAI’s longevity in the wake of NEA cuts. Link to donate in our bio.

The NEA supported our distribution program, which is central to our mission and allows us to share artworks from our collection to thousands of public institutions around the world. We look forward to continuing this program alongside educational and community partnerships, preservation activities, and free public events showcasing EAI’s collection alongside kindred artists and organizations.

We are dedicated to carrying EAI’s legacy long into the future and greatly appreciate your support, in whatever capacity is possible for you.

EAI and no place press (@noplacepress) are thrilled to announce the release of our forthcoming book, The New Television: Video After Television.

Constructed in two parts, the publication includes a facsimile edition of the long-out-of-print anthology The New Television: A Public/Private Art (EAI/MIT, 1977), a foundational compendium of texts presented at the 1974 Open Circuits: An International Conference on the Future of Television edited by Douglas Davis and Allison Simmons. Rare, re-printed texts pair with recently commissioned scholarly essays by over a dozen writers including Ed Halter, Kris Paulsen, Fred Turner, and EAI Director Emerita Lori Zippay, roundtables moderated by Ina Blom and Michelle Kuo, and previously unpublished archival documents.

This vibrant collection of groundbreaking work of the past and present illuminates the institutional histories of video art, considers global televisual contexts and alternative critical approaches, and examines contemporary video art history and its continued relevance from a wide range of singular perspectives.

Edited by Rebecca Cleman, Rachel Churner, and Tyler Maxin, and designed by Geoff Kaplan (@geoffkaplan).

EAI and no place press (@noplacepress) are thrilled to announce the release of our forthcoming book, The New Television: Video After Television.

Constructed in two parts, the publication includes a facsimile edition of the long-out-of-print anthology The New Television: A Public/Private Art (EAI/MIT, 1977), a foundational compendium of texts presented at the 1974 Open Circuits: An International Conference on the Future of Television edited by Douglas Davis and Allison Simmons. Rare, re-printed texts pair with recently commissioned scholarly essays by over a dozen writers including Ed Halter, Kris Paulsen, Fred Turner, and EAI Director Emerita Lori Zippay, roundtables moderated by Ina Blom and Michelle Kuo, and previously unpublished archival documents.

This vibrant collection of groundbreaking work of the past and present illuminates the institutional histories of video art, considers global televisual contexts and alternative critical approaches, and examines contemporary video art history and its continued relevance from a wide range of singular perspectives.

Edited by Rebecca Cleman, Rachel Churner, and Tyler Maxin, and designed by Geoff Kaplan (@geoffkaplan).

EAI and no place press (@noplacepress) are thrilled to announce the release of our forthcoming book, The New Television: Video After Television.

Constructed in two parts, the publication includes a facsimile edition of the long-out-of-print anthology The New Television: A Public/Private Art (EAI/MIT, 1977), a foundational compendium of texts presented at the 1974 Open Circuits: An International Conference on the Future of Television edited by Douglas Davis and Allison Simmons. Rare, re-printed texts pair with recently commissioned scholarly essays by over a dozen writers including Ed Halter, Kris Paulsen, Fred Turner, and EAI Director Emerita Lori Zippay, roundtables moderated by Ina Blom and Michelle Kuo, and previously unpublished archival documents.

This vibrant collection of groundbreaking work of the past and present illuminates the institutional histories of video art, considers global televisual contexts and alternative critical approaches, and examines contemporary video art history and its continued relevance from a wide range of singular perspectives.

Edited by Rebecca Cleman, Rachel Churner, and Tyler Maxin, and designed by Geoff Kaplan (@geoffkaplan).

EAI and no place press (@noplacepress) are thrilled to announce the release of our forthcoming book, The New Television: Video After Television.

Constructed in two parts, the publication includes a facsimile edition of the long-out-of-print anthology The New Television: A Public/Private Art (EAI/MIT, 1977), a foundational compendium of texts presented at the 1974 Open Circuits: An International Conference on the Future of Television edited by Douglas Davis and Allison Simmons. Rare, re-printed texts pair with recently commissioned scholarly essays by over a dozen writers including Ed Halter, Kris Paulsen, Fred Turner, and EAI Director Emerita Lori Zippay, roundtables moderated by Ina Blom and Michelle Kuo, and previously unpublished archival documents.

This vibrant collection of groundbreaking work of the past and present illuminates the institutional histories of video art, considers global televisual contexts and alternative critical approaches, and examines contemporary video art history and its continued relevance from a wide range of singular perspectives.

Edited by Rebecca Cleman, Rachel Churner, and Tyler Maxin, and designed by Geoff Kaplan (@geoffkaplan).

EAI and no place press (@noplacepress) are thrilled to announce the release of our forthcoming book, The New Television: Video After Television.

Constructed in two parts, the publication includes a facsimile edition of the long-out-of-print anthology The New Television: A Public/Private Art (EAI/MIT, 1977), a foundational compendium of texts presented at the 1974 Open Circuits: An International Conference on the Future of Television edited by Douglas Davis and Allison Simmons. Rare, re-printed texts pair with recently commissioned scholarly essays by over a dozen writers including Ed Halter, Kris Paulsen, Fred Turner, and EAI Director Emerita Lori Zippay, roundtables moderated by Ina Blom and Michelle Kuo, and previously unpublished archival documents.

This vibrant collection of groundbreaking work of the past and present illuminates the institutional histories of video art, considers global televisual contexts and alternative critical approaches, and examines contemporary video art history and its continued relevance from a wide range of singular perspectives.

Edited by Rebecca Cleman, Rachel Churner, and Tyler Maxin, and designed by Geoff Kaplan (@geoffkaplan).

EAI and no place press (@noplacepress) are thrilled to announce the release of our forthcoming book, The New Television: Video After Television.

Constructed in two parts, the publication includes a facsimile edition of the long-out-of-print anthology The New Television: A Public/Private Art (EAI/MIT, 1977), a foundational compendium of texts presented at the 1974 Open Circuits: An International Conference on the Future of Television edited by Douglas Davis and Allison Simmons. Rare, re-printed texts pair with recently commissioned scholarly essays by over a dozen writers including Ed Halter, Kris Paulsen, Fred Turner, and EAI Director Emerita Lori Zippay, roundtables moderated by Ina Blom and Michelle Kuo, and previously unpublished archival documents.

This vibrant collection of groundbreaking work of the past and present illuminates the institutional histories of video art, considers global televisual contexts and alternative critical approaches, and examines contemporary video art history and its continued relevance from a wide range of singular perspectives.

Edited by Rebecca Cleman, Rachel Churner, and Tyler Maxin, and designed by Geoff Kaplan (@geoffkaplan).

Join us at Millennium Film Workshop on Friday, May 22, for Standard Normal Distribution, a panel discussion exploring the challenges of artists’ film and video distribution in 2026 and beyond. Organized in collaboration with the Millennium Film Journal, we are honored to welcome Rebecca Cleman of Electronic Arts Intermix (EAI, NYC), Matt McKinzie of The Film-makers’ Cooperative/New American Cinema Group (FMC, NYC), and Emily Martin of Video Data Bank (VDB, Chicago, IL), appearing in conversation with Joe Wakeman (MFW) and Nicholas Gamso (MFJ).

Interest in experimental cinema has surged in recent years, with sold-out screenings, a bounty of new publications, platforms, and festivals, and artists of all backgrounds turning to film to reach broader audiences. At the same time, the field of artists’ film and video distribution has faced severe shocks, from funding cuts and rising costs to the pressures of digital piracy. The moment is right to strategize methods of supporting our community for years to come. We envision a rich discussion, not just about the current state of artist film distribution but its potential futures, asking questions such as:

What would a more equitable and participatory kind of artist cinema look like? How might weexpand on creative models, past and present, for programming, distributing, and screening artists’ films? Can we secure fair remuneration for artists and cinema workers while rethinking—even dismantling—the structures of visibility, prestige, and (in)accessibility that still characterize our field?

The transcript from this live event will appear in part two of MFJ’s yearlong study of Circulation.

We invite you to be a part of this important conversation, Friday, May 22, 7:30 PM at Millennium Film Workshop, 167 Wilson Ave, Brooklyn NY.

Happy Mother’s Day 💐 EAI is thrilled to announce the addition of Jake Brush (@jake__brush ) into distribution!

An interdisciplinary artist working within the fields of video, sculpture, and performance, Jake Brush wryly satirizes and celebrates the excesses of American culture and media. Brush joins the EAI catalogue after our event highlighting his work in 2023, co-organized with International Objects.

Drawing from programs like Hoarders and Survivor, Brush’s videos encompass core facets of American reality TV: egregious wealth, familial trauma and alcoholism, tactical self-mythologizing, bitter interpersonal conflict, and fleeting moments of human connection. Much of Brush’s work draws from the artist’s childhood on Long Island, re-staging contemporary tragedies and family gossip in a setting where curious engagement precedes moral judgement. Remixing the consumeristic lingo of social media and self-referential chatspeak of contemporary Internet culture, Brush tells absurd stories about the mundanity of American life.

Brush’s actors often perform in drag, their bodies augmented by synthetic masks and heavy makeup. The artist’s use of gender transgression as a performance tool—which evokes the sensibilities of Jack Smith and Charles Ludlam—confronts the shallow artifice of reality television by reappropriating its maximalism. Brush’s approach also aligns with Ryan Trecartin and Jacolby Satterwhite, who utilize digital culture and queer sociality as the basis for sensorially rich video works. His videos target celebrity tabloids, the garishness of the ultra-rich, and content consumption, exposing how popular media commodifies subjectivity.

Images:

1. This Unremarkable Life (2025)
2. Mall, Interrupted (2025)
3. Petpourri (2023)
4. Laundry Detergent (Cheers!) (2023)

Happy Mother’s Day 💐 EAI is thrilled to announce the addition of Jake Brush (@jake__brush ) into distribution!

An interdisciplinary artist working within the fields of video, sculpture, and performance, Jake Brush wryly satirizes and celebrates the excesses of American culture and media. Brush joins the EAI catalogue after our event highlighting his work in 2023, co-organized with International Objects.

Drawing from programs like Hoarders and Survivor, Brush’s videos encompass core facets of American reality TV: egregious wealth, familial trauma and alcoholism, tactical self-mythologizing, bitter interpersonal conflict, and fleeting moments of human connection. Much of Brush’s work draws from the artist’s childhood on Long Island, re-staging contemporary tragedies and family gossip in a setting where curious engagement precedes moral judgement. Remixing the consumeristic lingo of social media and self-referential chatspeak of contemporary Internet culture, Brush tells absurd stories about the mundanity of American life.

Brush’s actors often perform in drag, their bodies augmented by synthetic masks and heavy makeup. The artist’s use of gender transgression as a performance tool—which evokes the sensibilities of Jack Smith and Charles Ludlam—confronts the shallow artifice of reality television by reappropriating its maximalism. Brush’s approach also aligns with Ryan Trecartin and Jacolby Satterwhite, who utilize digital culture and queer sociality as the basis for sensorially rich video works. His videos target celebrity tabloids, the garishness of the ultra-rich, and content consumption, exposing how popular media commodifies subjectivity.

Images:

1. This Unremarkable Life (2025)
2. Mall, Interrupted (2025)
3. Petpourri (2023)
4. Laundry Detergent (Cheers!) (2023)

Happy Mother’s Day 💐 EAI is thrilled to announce the addition of Jake Brush (@jake__brush ) into distribution!

An interdisciplinary artist working within the fields of video, sculpture, and performance, Jake Brush wryly satirizes and celebrates the excesses of American culture and media. Brush joins the EAI catalogue after our event highlighting his work in 2023, co-organized with International Objects.

Drawing from programs like Hoarders and Survivor, Brush’s videos encompass core facets of American reality TV: egregious wealth, familial trauma and alcoholism, tactical self-mythologizing, bitter interpersonal conflict, and fleeting moments of human connection. Much of Brush’s work draws from the artist’s childhood on Long Island, re-staging contemporary tragedies and family gossip in a setting where curious engagement precedes moral judgement. Remixing the consumeristic lingo of social media and self-referential chatspeak of contemporary Internet culture, Brush tells absurd stories about the mundanity of American life.

Brush’s actors often perform in drag, their bodies augmented by synthetic masks and heavy makeup. The artist’s use of gender transgression as a performance tool—which evokes the sensibilities of Jack Smith and Charles Ludlam—confronts the shallow artifice of reality television by reappropriating its maximalism. Brush’s approach also aligns with Ryan Trecartin and Jacolby Satterwhite, who utilize digital culture and queer sociality as the basis for sensorially rich video works. His videos target celebrity tabloids, the garishness of the ultra-rich, and content consumption, exposing how popular media commodifies subjectivity.

Images:

1. This Unremarkable Life (2025)
2. Mall, Interrupted (2025)
3. Petpourri (2023)
4. Laundry Detergent (Cheers!) (2023)

Happy Mother’s Day 💐 EAI is thrilled to announce the addition of Jake Brush (@jake__brush ) into distribution!

An interdisciplinary artist working within the fields of video, sculpture, and performance, Jake Brush wryly satirizes and celebrates the excesses of American culture and media. Brush joins the EAI catalogue after our event highlighting his work in 2023, co-organized with International Objects.

Drawing from programs like Hoarders and Survivor, Brush’s videos encompass core facets of American reality TV: egregious wealth, familial trauma and alcoholism, tactical self-mythologizing, bitter interpersonal conflict, and fleeting moments of human connection. Much of Brush’s work draws from the artist’s childhood on Long Island, re-staging contemporary tragedies and family gossip in a setting where curious engagement precedes moral judgement. Remixing the consumeristic lingo of social media and self-referential chatspeak of contemporary Internet culture, Brush tells absurd stories about the mundanity of American life.

Brush’s actors often perform in drag, their bodies augmented by synthetic masks and heavy makeup. The artist’s use of gender transgression as a performance tool—which evokes the sensibilities of Jack Smith and Charles Ludlam—confronts the shallow artifice of reality television by reappropriating its maximalism. Brush’s approach also aligns with Ryan Trecartin and Jacolby Satterwhite, who utilize digital culture and queer sociality as the basis for sensorially rich video works. His videos target celebrity tabloids, the garishness of the ultra-rich, and content consumption, exposing how popular media commodifies subjectivity.

Images:

1. This Unremarkable Life (2025)
2. Mall, Interrupted (2025)
3. Petpourri (2023)
4. Laundry Detergent (Cheers!) (2023)

Distribution Spotlight: Ant Farm, Cadillac Ranch 1974/1994. Chip Lord, co-founder of Ant Farm with Doug Michels, will be visiting EAI next Thursday (May 14) for An Evening with Chip Lord. RSVP in our bio!

Cadillac Ranch 1974/1994 is a document of Ant Farm’s major site installation, Cadillac Ranch, which was commissioned by Texas millionaire Stanley Marsh 3. To create the work, ten Cadillacs, vintage 1948 to 1963, were buried fin-up in a field off Route 66 in Amarillo. The image is a comically subversive homage to the rise and fall of the tail-fin as an icon of postwar American consumer excess. Footage of the burial of the cars is intercut with Cadillac commercials that promote a fetishized ideal, the ultimate American Dream. A pop spectacle that parodies consumerism with a tongue-in-cheek nod to 1970’s site art, the Cadillac Ranch is an ironic celebration of the “grotesque and wonderful” tail-fin as the ultimate expression of wasteful design in American culture.

Cadillac Ranch 1974/1994 combines footage shot at the 20th Anniversary party, and original material — including rare 16mm footage of the making of the installation — and features interviews with Ant Farm members Chip Lord, Hudson Marquez, Doug Michels, and Cadillac Ranch’s patron, Stanley Marsh 3.

Distribution Spotlight: Ant Farm, Cadillac Ranch 1974/1994. Chip Lord, co-founder of Ant Farm with Doug Michels, will be visiting EAI next Thursday (May 14) for An Evening with Chip Lord. RSVP in our bio!

Cadillac Ranch 1974/1994 is a document of Ant Farm’s major site installation, Cadillac Ranch, which was commissioned by Texas millionaire Stanley Marsh 3. To create the work, ten Cadillacs, vintage 1948 to 1963, were buried fin-up in a field off Route 66 in Amarillo. The image is a comically subversive homage to the rise and fall of the tail-fin as an icon of postwar American consumer excess. Footage of the burial of the cars is intercut with Cadillac commercials that promote a fetishized ideal, the ultimate American Dream. A pop spectacle that parodies consumerism with a tongue-in-cheek nod to 1970’s site art, the Cadillac Ranch is an ironic celebration of the “grotesque and wonderful” tail-fin as the ultimate expression of wasteful design in American culture.

Cadillac Ranch 1974/1994 combines footage shot at the 20th Anniversary party, and original material — including rare 16mm footage of the making of the installation — and features interviews with Ant Farm members Chip Lord, Hudson Marquez, Doug Michels, and Cadillac Ranch’s patron, Stanley Marsh 3.

Artist Chip Lord joins us at EAI on Thursday May 14 for a screening and public conversation with EAI’s Director Rebecca Cleman! RSVP at the link in our bio.

The event will celebrate Lord’s career across six decades of experimentation in video and sculpture. Lord will appear in-person for the event, which will include a short video screening and dialogue with EAI’s Executive Director, Rebecca Cleman. This program follows the recent addition of Lord’s papers—focused on his work as a co-founder, with Doug Michels, of the collective Ant Farm—to the Avery Architectural & Fine Arts Library at Columbia University.

Originally trained as an architect, Lord has long focused on the postwar American landscape. His artworks frequently investigate and intervene on American myths and icons as they inhabit urban geographies, consumer culture, and mainstream media. The three videos in this screening, The Weird Turn Pro (2000), Greetings From Amarillo (2016), and Honolulu Underwater (2019) span Lord’s artistic production since the turn of the century. Set in San Francisco, California; Amarillo, Texas, and Honolulu, Hawaii, respectively, the videos in this screening express Lord’s interest in American cities as they depict seasonal tourism, local sports culture, and the desert landscape of the American southwest.

Above is a clip from Greetings From Amarillo (2016), part of a three-city trilogy that also includes Miami Beach Elegy (2017) and Fifteen Minutes in Phoenix (2019). Greetings from Amarillo uses seven songs by Hayden Pedigo to structure a portrait of the north Texas landscape. Each song presents a different location such as a hunter’s trophy room, open plains, and beside the railroad tracks as a coal train passes. The work begins and ends at Cadillac Ranch, Ant Farm’s public sculpture just outside Amarillo, but also includes footage of Robert Smithson’s Spiral Jetty seen from the air. Pedigo’s solo guitar music is from his album of the same name.

Produced and directed by Chip Lord. Cinematography by Christopher Beaver, sound mixed
by Jim Mckee

Distribution Spotlight: Theresa Hak Kyung Cha, Mouth to Mouth (1975). Cha’s piece is screening at @anthologyfilmarchives on Saturday, May 2, as a part of the program “Horror, or the Splendour Of” in the 6th annual Prismatic Ground festival! Prismatic Ground is an annual festival in New York City centered on experimental documentary and avant-garde film, and runs April 29-May 3 this year. Don’t miss it!

Mouth to Mouth will screen alongside Joanne Kyger’s Descartes (1968), Stom Sogo’s Tri (2004), and Lily Jue Sheng’s Force Majeure (2015-2017), with readings by Ed Steck, Benjamin Krusling, charles theonia, and Lily Jue Sheng.

Event description from @prismaticground: “Horror, or the Splendour Of” borrows part of its title from Joanne Kyger’s poem and experimental film “Descartes and the Splendor of: A Real Drama of Everyday Life. In Six Parts” (1968). What is the splendor of the everyday in 2026, amidst the maelstrom of faraway horrors? Theresa Hak Kyung Cha’s eight-minute video Mouth to Mouth (1975) depicts an extreme close-up of the poet and artist’s mouth pronouncing a series of Korean vowels. But the sound of her voice is almost totally muffled—as the image is by a dense, fuzzy static. We might assume that she’s speaking in a whisper, but what’s seen also suggests a scream. The genre of horror has always been a release valve, an instructional genre for enduring daily dread. In the words of Ed Steck: “I remember feelings of outside, feeling being outside on my skin, feeling fluid on myself squirm noxiously, bodily” [...] “Have you ever seen death? It’s like a corridor of mirrors.” The films and poems depicted in the program aim to capture or counter the ways that genres of extreme experience inflect the mundane.

Join us at EAI this Thursday, April 23, to celebrate the release of Martha Schwendener’s book The Society of the Screen: Vilém Flusser’s Radical Prescience (MIT 2026). The book examines the influence of experimental art practices on Flusser’s media theory.

EAI’s Executive Director, Rebecca Cleman, will join Schwendener in dialogue about Flusser’s interest in video and television, and his connection to the arts both through his work on the São Paolo Biennial and his participation in the 1974 Open Circuits Conference at MoMA (co-presented by EAI).

Pictured above is an image of Flusser taken from Les gestes du Professeur dans le jardin (1972), a short piece made by his friend and collaborator, the Czech philosopher Fred Forest. We will screen a segment of this piece at the event.

Martha Schwendener is an art critic for the New York Times and a visiting professor at New York University.

RSVP at the link in our bio!

Distribution Spotlight: John Baldessari, I Will Not Make Any More Boring Art (1971). This piece will be on display at EAI next Thursday during our launch for Martha Schwendener’s new book, The Society of the Screen: Vilém Flusser’s Radical Prescience (MIT, 2026). RSVP at the link in our bio!

In 1971, Baldessari was commissioned by the Nova Scotia College of Art and Design in Canada to create an original, on-site work. Unable to make the journey himself, he suggested that the students voluntarily write the phrase “I will not make any more boring art” on the gallery walls. Inspired by the work’s completion — the students covered the walls with the phrase — Baldessari committed his own version of the piece to videotape. Like an errant schoolboy, he dutifully writes, “I will not make any more boring art” over and over again in a notebook for the duration of the tape. In an ironic disjunction of form and content, Baldessari’s methodical, repetitive exercise deliberately contradicts the point of the lesson — to refrain from creating “boring” art.

Distribution Spotlight: Maggie Lee, WINGS2 (2013). WINGS2 will play at EAI this Thursday as part of EAI and Blade Study (@blade_study )’s event Rendered Instant, which centers artists and artworks investigating the threshold of human and computational perception. RSVPs are full—attendance will be first-come, first-served. More info at the link in our bio!

In Lee’s video, the artist drinks a Red Bull—the Austrian energy drink that claims in its advertising campaigns that it will “give you wings”—against the backdrop of a 2013 ad for the beverage by cartoonist Horst Sambo. Featuring music by NYC Vanity Fair.

Distribution Spotlight: Maggie Lee, WINGS2 (2013). WINGS2 will play at EAI this Thursday as part of EAI and Blade Study (@blade_study )’s event Rendered Instant, which centers artists and artworks investigating the threshold of human and computational perception. RSVPs are full—attendance will be first-come, first-served. More info at the link in our bio!

In Lee’s video, the artist drinks a Red Bull—the Austrian energy drink that claims in its advertising campaigns that it will “give you wings”—against the backdrop of a 2013 ad for the beverage by cartoonist Horst Sambo. Featuring music by NYC Vanity Fair.

What if the artist drops their work?

👉 In his work, Bruce Nauman uses videos, sculptures, holograms, neon lights, and installations to create scenarios that disrupt viewers’ habits of perception. By investigating themes of time, control, and language, the artist creates an open-ended body of work that prioritizes process over product and expands the possibilities of what art may be.

🎞️ Edited from never-before-seen interview footage from the #Art21Archive, 2001. To see Bruce Nauman in full Art21 films and episodes, visit art21.org/brucenauman at link in bio.

Artworks © 2026 Bruce Nauman / Artists Rights Society (ARS), New York

#BruceNauman #Art21Archive