Jeremy Blake

Concerned about the declining health of people all around them, Native American women are sparking physical and spiritual rejuvenation through reclaiming traditional foodways.

Century 21 moves from the roof of the Winchester house to zoom in on a complex of three domed, space-age movie theaters situated across the street: Century 21, Century 22 and Century 23, alluding to the fact that it is film, TV and the media that perpetuate the icon of the gunfighter. The work consists of three short sections intended to represent what is “playing” in each of the theaters. These include richly layered montages of the Old West and pop-culture imagery, as well as art and film celebrities who appear as phantom stand-ins to embody the specters of the Cowboy and of Sarah Winchester herself.

Winchester Redux (2004) by the late, renowned digital artist Jeremy Blake (1971 – 2007) is an abridged version of the artist’s acclaimed Winchester Trilogy.

Winchester combines static 16mm historical photographs of the house, drawings, and laborious digital manipulation to convey a psychological portrait of the house. Accompanied by a moody soundtrack, the piece opens with a black-and-white shot of the architectural facade. Superimposed over the house, the silhouette of a gunfighter fills the frame, alluding to the Winchester legacy. As the film unfolds, both mansion and rifleman are eclipsed by veils of saturated color and kinetic abstractions. Painterly shapes resembling gunshot wounds morph into Rorschach–like inkblots and back again into rifle–bearing specters.

installation/video art

installation/video art

The story of rock'n'roll singer Charles Valentine, who came from small-town Ohio and conquered New York. Charles' own narration is interspersed with interviews to people who know her — her friend Sarah, her brother Loren, her manager and more. Beauty, talent, charisma: Charles has it all, and it nets her a glamourous life. But is glamour enough for her? And what does glamour mean?