William E. Jones (American, b. 1962) performs miraculous acts of resurrection and reanimation on forgotten, trashed, or mutilated films and still photographs, including Cold War propaganda, gay porn, New Deal–era documentary images, industrial and science films, and police surveillance footage. His fascination with the politics of image-making extends to an inventive manipulation of seemingly outmoded analog and digital technologies, from 8mm and 16mm film to videocassette recorders.
On May 24, Jones presents the New York premiere of several recent works, including selections from his ambitious multipart installation Discrepancy (2008–09), which envisions a 1951 cine-manifesto by Isidore Isou; Killed (2009), a looped moving-image work based on rejected photographs taken by Walker Evans, Ben Shahn, and others for the New Deal’s Farm Security Administration; A True Cross Section (2008), which dissects a 1939 March of Time newsreel, Science in Business, into ninety-seven parts and randomizes the order in which they are shown; and Youngstown and Steeltown (2008), a double-projection study of industrial progress and failed utopia. A fascinating lecturer, Jones will also discuss and present two related earlier works, The Fall of Communism as Seen in Gay Pornography (1998) and Film Montages (For Peter Roehr) (2006).
In the Film exhibition Modern Mondays
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