Art
"Leah Gilliam's work examines how knowledge is produced and coded and how the conscious reorientation of cultural texts challenges their implications and constructions. In practice, she appropriates texts and uses them as a springboard to interpret larger issues of race, gender and sexual orientation."
Gilliam's work often focuses on technology and obsolescence. This preoccupation surfaces in many of her works. Her contributions to the "BitStreams" digital show at the Whitney Museum of American Art in 2001 were ancient Mac computers displaying fragments of old Super-8 movie trailers. Her 1998 CD-ROM Split: Whiteness, Retrofuturism, Omega Man worked with an 8 mm film trailer for Planet of the Apes and was described as a work that "obsessively looks back at outmoded media technologies." Another piece dealing heavily with the ideas of obsolescence, technology, and the reorientation of cultural texts, Gilliam's work Agenda for a Landscape received a great deal of attention during its stay from July 12 through September 22, 2002 at the New Museum of Contemporary Art.
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Famous quotes containing the word art:
“There is no mystery in a looking glass until someone looks into it. Then, though it remains the same glass, it presents a different face to each man who holds it in front of him. The same is true of a work of art. It has no proper existence as art until someone is reflected in it—and no two will ever be reflected in the same way. However much we all see in common in such a work, at the center we behold a fragment of our own soul, and the greater the art the greater the fragment.”
—Harold C. Goddard (1878–1950)
“The art of being a slave is to rule one’s master.”
—Diogenes of Sinope (c. 410–c. 320 B.C.)
“Art is on the side of the oppressed. Think before you shudder at the simplistic dictum and its heretical definition of the freedom of art. For if art is freedom of the spirit, how can it exist within the oppressors?”
—Nadine Gordimer (b. 1923)