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Lucy Raven

Lucy Raven

Nascimento : , Tucson, Arizona, USA

História

Lucy Raven (born 1977) is originally from Tucson, Arizona. She lives and works in New York City. She received a BFA in studio art and a BA in art history from the University of Arizona, Tucson, in 2000, and an MFA from Bard College’s Milton Avery Graduate School of the Arts, Annandale-on-Hudson, New York, in 2008. Her work has been exhibited in solo presentations at Wiels, Brussels, Belgium (2022); Dia Chelsea, New York, USA (2021); Serpentine Galleries, London, UK (2016–17); Columbus Museum of Art, Ohio, USA (2016); VOX centre de l’image contemporaine, Montreal, Canada (2015); Yerba Buena Center for the Arts, San Francisco, USA (2014); Portikus, Frankfurt, Germany (2014); Hammer Museum, Los Angeles, USA (2012); and Nevada Museum of Art, Reno, USA (2010). Select group shows include those at Los Angeles County Museum of Art, USA (2018–19); Whitney Museum of American Art, New York, USA (2013); Wexner Center for the Arts, Ohio State University, Columbus, USA (2010); Mass MoCA, North Adams, Massachusetts, USA (2008–09). Her work is featured in the 2022 iteration of the Whitney Biennial, curated by David Breslin and Adrienne Edwards. Raven’s work appears in public collections around the world, including Museum of Modern Art, New York; the Solomon R. Guggenheim Museum, New York; Tate Britain, London; DIA Foundation, New York; Hammer Museum, Los Angeles; Whitney Museum, New York. Later in the spring, her work will be included in a group exhibition entitled A Divided Landscape curated by Neville Wakefield at The Momentary, Bentonville, Arkansas. Additionally, Raven’s work was included in the 2012 Whitney Biennial, New York; 2016 Montreal Biennial; and 2018 Dhaka Art Summit, Bangladesh. With Vic Brooks and Evan Calder Williams, she is a founding member of 13BC, a moving-image research and production collective. Raven teaches at the Cooper Union School of Art in New York.

Perfil

Lucy Raven

Filmes

Demolition of a Wall (Album 2)

Demolition of a Wall (Album 2)

Director

Demolition of a Wall (Album 2) was shot at an explosives range in Socorro, New Mexico. Socorro - meaning 'aid' or 'help' - was given its name in the 16th century by Spanish colonizers as a token of gratitude: as the Spaniards emerged from a very barren stretch of desert, native Piro Indians offered them food and water. More recently, the area has been physically imprinted with the history of atomic bomb testing and hypersonic weapons research.

Demolition of a Wall (Album 1)

Demolition of a Wall (Album 1)

Director

Lucy Raven's Demolition of a Wall (Album 1) is the second film in her trilogy of "Westerns." In American cinema, the Western has traditionally celebrated the expansionist myth that the region is somehow primal or untouched. Raven, by contrast, engages with a West that–while still dramatic in its natural beauty–has been industrialized, militarized, and colonized. She filmed this work at an explosives range in New Mexico that is typically employed as a test site by the US Departments of Defense and Energy and private munitions companies. Notably, it is close to Los Alamos, a national laboratory known for its role in the development of the nuclear bomb. Using a variety of cameras and imaging techniques, Raven captures the trajectory of the pressure-blast shockwaves that move through the atmosphere in the wake of an explosion. [Overview courtesy of the Whitney Museum of American Art]

Director

Ready Mix (2021) is a forty-five-minute film shot over two years at a concrete plant in central Idaho. Ready Mix records the churning transformation of mineral aggregates and cement binders into one of the world’s most ubiquitous building materials: ready-mix concrete. The film’s extra-wide aspect ratio references the surveying origins of the anamorphic format. Developed during World War I to give military-tank operators more expansive views of the terrain, the format later became a staple of Western genre films. Ready Mix collapses this perspectival depth into visual flatness and material density. In doing so, it counters the ways in which Westerns traditionally frame the landscape to perpetuate the myth of the so-called frontier as receding, empty, and untamed.

Director

A portrait of Alexander Calder’s work Chef d’orchestra (1966), which was made in collaboration with New York composer Earle Brown. When it was made in 1964, the work was intended to be both an instrument (“played” at intervals in an open score by four percussionists) and a conductor (after it was hit and spun in motion, the musicians returned to their percussion stands and imagined the petals of the mobile superimposed over their written score, playing only those notes.) For Shape Notes, two performances of Chef d'orchestre were staged and recorded. The audio recordings of those performances were then edited and used as a new score from which the visual rhythm of this work was composed.

The Deccan Trap

The Deccan Trap

Director

The Deccan Trap is a sci-fi fable that goes back in space and time, with one layer at a time revealed from a cut out collage of stacked images. The piece travels from some of the newest 3D images being produced in India—at post-production studios converting outsourced Hollywood films from 2D to 3D—to some of the oldest—bas-relief carvings in Ellora’s rock cut temples in Maharashtra.

Director

3D, loop, 2014

Director

RP31 is an animation composed from 31 film projection test patterns and calibration charts.

Director

Follows copper production from an open pit mine in Ruth, Nevada to a smelter in Tongling, China, where the semi-refined ore is sent to be processed and refined.

Director

Slowly scrolling text about the twilight of public access television and the shift from analog to digital.

Or Was It the Other Way Around?

Or Was It the Other Way Around?

Director

The moment in Alfred Hitchcock's Vertigo when Scottie realizes Judy is Madeline.