The first thorough survey of multimedia artist Jonathan Horowitz
Orienting himself firmly in the media-present, New York artist Jonathan Horowitz replays the recent past in the incarnations of our times. This reprisal occurs particularly in video works such as Maxell, in which the name of the now obsolete videotape company is worn down to a VHS blur, and The Soul of Tammi Terrell, in which 1960s footage of the eponymous pop star singing Ain't No Mountain High Enough is juxtaposed with Julia Roberts and Susan Sarandon's rendition of the song in the 1998 film Stepmom. Horowitz himself makes no overt political critique, but always ensures that the work's underlying edge is laid plainly before the viewer. Queer and ecological themes also abound, as does sly humor and a Warholian detachment. This is the first thorough survey of Horowitz's work.
Orienting himself firmly in the media-present, New York artist Jonathan Horowitz replays the recent past in the incarnations of our times. This reprisal occurs particularly in video works such as Maxell, in which the name of the now obsolete videotape company is worn down to a VHS blur, and The Soul of Tammi Terrell, in which 1960s footage of the eponymous pop star singing Ain't No Mountain High Enough is juxtaposed with Julia Roberts and Susan Sarandon's rendition of the song in the 1998 film Stepmom. Horowitz himself makes no overt political critique, but always ensures that the work's underlying edge is laid plainly before the viewer. Queer and ecological themes also abound, as does sly humor and a Warholian detachment. This is the first thorough survey of Horowitz's work.
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