In Baron and Goodwin’s Lossless series the “materiality” of the digital becomes the source-code for experimental execution. The artists’ renditions of appropriated films are certainly not “lossless” (i.e. a copy of the original in which nothing is lost), but rather gainful: through various techniques of digital disruption–compression, file-sharing, the removal of essential digital information–the artists reveal the gain of a “new” media, full of material forms ripe for aesthetic sleuthing. -Braxton Soderman
We’ve seen The WIzard of Oz more times than any other movie. We may imagine it playing on a big screen in full Technicolor as it was shown in 1939. But the truth is that we’ve only seen it on television. Now that we may buy the digitally enhanced DVD and watchThe Wizard of Oz on our laptop computers, we wanted to know exactly how the media had changed. By capturing the differences between a 35mm print and a digital version, Lossless shows exactly what has changed.
exhibitions
- 12/2010, Osterreichische Filmmuseum, Wien/AT
- 3/2010, Orphans 7, NY/US
- 11/2009, Looking at Cabinet (with Maggie Nelson, Wayne Koestenbaum, Eileen Myles, and CA Conrad), NY/US
- 3/2009,Los Angeles Film Forum (with Adele Horne), CA/US
- 10-12/2008, Carpenter Center for the Visual Arts, MA/US [x][x]
- 9-10/2007,Pixilerations, RI/US
- 4/2007, COLLISIONeleven (C11), MIT Stata Center, MA/US subset of:
- Boston Cyberarts Festival
press imagehere
