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Exists as two sizes of JPG.", "View" : "" } , ] },{ "embark_ID" : 26462, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/26462", "Disp_Access_No" : "2017.1", "_AccNumSort1" : "", "Disp_Create_DT" : "2014", "_Disp_Start_Dat" : "2014", "_Disp_End_Date" : "2014", "Disp_Title" : "Martyrs (Air, Earth, Fire, Water)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Bill Viola", "Sort_Artist" : "Viola, Bill", "Disp_Dimen" : "", "Disp_Height" : "", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "", "Support" : "", "Disp_Medium" : "Color high-definition video on flat panel display", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Time-based media art", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Bill Viola’s “Martyrs – Earth, Air, Fire, and Water” (2014) consists of four color high-definition videos on flat panel displays. This artwork is part of the Memorial Art Gallery’s Collection and the four panels may be exhibited together or individually in the Museum’s  galleries. They may be shown alone or together with other artworks. Care should be taken that lighting does not interfere with the reception of the artwork. Also that wires and technical support are hidden from view. James Cohan (James Cohan Gallery) agrees to these conditions.  John G. Hanhardt, Consulting Senior Curator of Media Arts, Memorial Art Gallery See other installation options and instructions in Installation/Maintenance folder in object file. 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Their film The Way Things Go (Der Lauf der Dinge), 1987, features a seemingly endless chain reaction of everyday objects with the expected human intervention needed to incite their movement curiously absent. The premise for the piece extends from Equilibres, 1984–87, a series of photographs featuring sculptural constructions made from precariously balanced studio and street detritus captured at a moment of stability. After Equilibres, the next logical step for Fischli and Weiss was to harness the “energy of never-ending collapse” embedded in the frozen images. At a warehouse in Zurich, the duo assembled objects in scenarios in which the momentum generated from simple machines, like levers or pulleys, or chemical reactions propelled the objects forward. The artists carefully sequenced these interactions, so the force of one object’s movement would impact the next, and so on, evoking Rube Goldberg’s humorous illustrations of complex mechanical contraptions that performed simple tasks. Using film, they recorded the resulting interplay in long takes, making cuts when the pace of reaction was particularly slow. In The Way Things Go, objects take on personalities, becoming nonhuman actors cast in a slapstick comedy. As Peter Fischli noted in 2006, “The film created the impression that the things move on their own, without human help, that they become spirited, living beings.” Watch closely and discover how the artists made ordinarily inanimate objects come alive. (Gallery wall text from 2019 exhibition) ", "Dedication" : "Gift of Nancy S. and Peter O. 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No uncorrected master exists.", "View" : "" } , ] },{ "embark_ID" : 26899, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/26899", "Disp_Access_No" : "2018.17.1", "_AccNumSort1" : "", "Disp_Create_DT" : "2018", "_Disp_Start_Dat" : "2018", "_Disp_End_Date" : "2018", "Disp_Title" : "NOSFERATU (The Undead)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Javier Tellez", "Sort_Artist" : "Tellez, Javier", "Disp_Dimen" : "", "Disp_Height" : "", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "", "Support" : "", "Disp_Medium" : "S16mm film and digital video transferred to 4K digital video (color, black-and-white, sound)", "Info_Page_Comm" : "", "Dedication" : "Commissioned and acquired with the support of the following sponsors of the Memorial Art Gallery’s “Reflections on Place” series of media art commissions: the Zell Family, Deborah Ronnen and Sherman Levey; as well as the Gary and Marcia Stern Family Advised Fund at the Rochester Area Community Foundation, the Maurice and Maxine Forman Fund, the Marion Stratton Gould Fund, the Herdle-Moore Fund, the Strasenburgh Fund, the Lyman K. and Eleanore B. 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No larger files exist.", "View" : "" } , ] },{ "embark_ID" : 28324, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/28324", "Disp_Access_No" : "2019.1.1", "_AccNumSort1" : "", "Disp_Create_DT" : "2019", "_Disp_Start_Dat" : "2019", "_Disp_End_Date" : "2019", "Disp_Title" : "Lessons of the Hour—Frederick Douglass", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Isaac Julien", "Sort_Artist" : "Julien, Isaac", "Disp_Dimen" : "", "Disp_Height" : "", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "", "Support" : "", "Disp_Medium" : "Ten-channel color video with sound", "Info_Page_Comm" : "", "Dedication" : "Commissioned and acquired by the Memorial Art Gallery with the partnership of the Virginia Museum of Fine Arts, and with generous support from Mark Falcone and Ellen Bruss, the Zell Family, Ford Foundation, VIA Art Fund, Lori Van Dusen, and Deborah Ronnen and Sherman Levey. The commission and acquisition were also made possible by Barbara and Aaron Levine, the Maurice and Maxine Forman Fund, the Marion Stratton Gould Fund, the Herdle-Moore Fund, the Strasenburgh Fund, and the Lyman K. and Eleanore B. Stuart Endowment Fund at the Memorial Art Gallery, and the Arthur and Margaret Glasgow Endowment at the Virginia Museum of Fine Arts. Production of the work was generously supported by Metro Pictures, New York; Victoria Miro, London/Venice; the Arts Division of the University of California Santa Cruz; and by Eastman Kodak Company, on whose film stock the installation was shot.", "Copyright_Type" : "", "Disp_Obj_Type" : "Time-based media art", "Creation_Place2" : "English", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "From: Binstock, Jonathan Sent: Wednesday, April 24, 2019 1:12 PM To: Isaac Julien Cc: Ioanna Papapavlou; Garland, Chris; Baker, Siri Subject: MAG credit line Dear Isaac, The following is how I think Lessons of the Hour could be credited when it is exhibited at places other than MAG and VMFA. So, for example, I think you could use this credit line when at Yale, the Royal Academy, the Scottish National Portrait Gallery, LACMA, etc. Commissioned by the Memorial Art Gallery of the University of Rochester with the partnership of the Virginia Museum of Fine Arts, and with generous support from Mark Falcone and Ellen Bruss, the Zell Family, Ford Foundation, VIA Art Fund, Lori Van Dusen, and Deborah Ronnen and Sherman Levey. Such credit could also be added to photo credit captions for images related to the commission. For example: Isaac Julien, “Lessons of The Hour” (Lessons of The Hour), 2019 matte archival paper mounted on aluminum, 63 x 84 inches. Commissioned by The Memorial Art Gallery of the University of Rochester.  (all images © Isaac Julien and courtesy the artist and Metro Pictures, New York unless otherwise noted) [I grabbed this caption from the Hyperallergic article online] What do you think? The full credit line is the following, but this is obviously way too much: Commissioned and acquired by the Memorial Art Gallery with the partnership of the Virginia Museum of Fine Arts, and with generous support from Mark Falcone and Ellen Bruss, the Zell Family, Ford Foundation, VIA Art Fund, Lori Van Dusen, and Deborah Ronnen and Sherman Levey. The commission and acquisition were also made possible by Barbara and Aaron Levine, the Maurice and Maxine Forman Fund, the Marion Stratton Gould Fund, the Herdle-Moore Fund, the Strasenburgh Fund, and the Lyman K. and Eleanore B. Stuart Endowment Fund at the Memorial Art Gallery, and the Arthur and Margaret Glasgow Endowment at the Virginia Museum of Fine Arts. Production of the work was generously supported by Metro Pictures, New York; Victoria Miro, London/Venice; the Arts Division of the University of California Santa Cruz; and by Eastman Kodak Company, on whose film stock the installation was shot.               Thank you! Jonathan Jonathan P. Binstock, Ph.D Mary W. and Donald R. Clark Director Memorial Art Gallery University of Rochester 585.276.8902 http://mag.rochester.edu/", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2019.1_A4.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2019.1_A4.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2019.1_A4.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2019.1_A4.jpg", "IsPrimary" : "0", "_SurrogateID" : "52627", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photos provided by the artist and his gallery. ", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2019.1_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2019.1_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2019.1_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2019.1_A3.jpg", "IsPrimary" : "0", "_SurrogateID" : "52626", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photos provided by the artist and his gallery. ", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2019.1_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2019.1_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2019.1_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2019.1_A2.jpg", "IsPrimary" : "0", "_SurrogateID" : "52625", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photos provided by the artist and his gallery. ", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2019.1_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2019.1_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2019.1_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2019.1_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "52624", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photos provided by the artist and his gallery. ", "View" : "" } , ] },{ "embark_ID" : 28672, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/28672", "Disp_Access_No" : "2019.15", "_AccNumSort1" : "", "Disp_Create_DT" : "2017", "_Disp_Start_Dat" : "2017", "_Disp_End_Date" : "2017", "Disp_Title" : "Giverny I (Negresse Imperiale)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Ja'Tovia Gary", "Sort_Artist" : "Gary, Ja'Tovia", "Disp_Dimen" : "", "Disp_Height" : "", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Digital file", "Support" : "", "Disp_Medium" : "Single-channel video with sound, in color and black-and-white", "Info_Page_Comm" : "Ja’Tovia Gary is an American artist and filmmaker whose work investigates the ways in which visual and media cultures shape our perceptions around race, gender, and specifically Blackness. Her poignant and distinctive visual language combines documentary elements, direct animation, and archival footage. Gary created Giverny I (NÉGRESSE IMPÉRIALE) during a 2016 residency at Claude Monet's historic gardens in France as part of the prestigious Terra Summer Fellowship for emerging filmmakers, scholars, and artists. While in this bucolic setting, surrounded by the ponds and water lilies that inspired Monet’s celebrated late paintings, Gary learned about the Pulse nightclub shooting in Florida, as well as the deaths of Philando Castile in Minnesota and Alton Sterling in Louisiana by police gunfire. With its combination of images and quick, crisp editing, the work of art encourages viewers to consider these tragic events in relation to the luxury of the garden, the role of the artist throughout time, and the vulnerability of Gary’s own body. Giverny I (NÉGRESSE IMPÉRIALE) interweaves images of Monet’s garden with archival materials and excerpts from Diamond Reynolds’ Facebook live recording of the death of her boyfriend, public school worker Philando Castile. By contrasting the harrowing experience of Diamond Reynolds and her daughter during the aftermath of Castile’s death with the artist’s own body in the gardens, Gary connects her everyday experience as a Black woman with art history. Other archival footage features slain activist and Black Panther Party leader Fred Hampton discussing the concept of Negro Imperialism and how political education should be a part of organizing efforts towards Black liberation. As Gary has explained, her work recontextualizes archival images to show how connections between colonialism, state violence, and media affect visual perception: how we see, experience, and understand the visual world. (Wall text 2019) ", "Dedication" : "Marion Stratton Gould and Herdle-Moore Funds", "Copyright_Type" : "", "Disp_Obj_Type" : "Time-based media art", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Single-channel video, stereo sound, HD and SD video footage. 1920 x 1080. 16:9 aspect ratio.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2019.15_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2019.15_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2019.15_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2019.15_A2.jpg", "IsPrimary" : "0", "_SurrogateID" : "53387", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photo provided by gallery. 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