Artists' Television Access

Lonely Boys: Steve Reinke in the Company of Some Other Men

Also featuring works by John Smith, George Kuchar & Joe Gibbons

Friday, April 4, 2008, 8:00 pm, $6-





Steve Reinke¹s videos are raunchy pieces of questionable autobiography. With a knack for dredging timely cultural criticism from source texts as ubiquitous as The Oprah Winfrey Show and as outmoded as Heideigger, Reinke is also adept at wrangling his iTunes playlist to hit the proper pop cultural motif in the stomach. In this intermix, unlikely playmates like Pinnochio and anal stimulation are reintroduced as natural geneology. Reinke is not alone in this playing field. To supply context to his prolific videography, independent works by voice-over masters George Kuchar, John Smith and Joe Gibbons are also included. In this hour-long program, four lonely boys share the screen so that we might feast on the cruel enjoyment of their sour disappointments and revel in the odd tangents produced by their idiosyncratic relationships with narrative.

Program of works

Steve Reinke, Joke (version one), 1992. Video, color/so 04:56.
Steve Reinke, Treehouse, 1995. Video, color/so, 03:55.
John Smith, The Girl Chewing Gum, 1976. 16mm, b&w/so, 12:00.
Steve Reinke, Amsterdam Camera Vacation, 2001. Video, color/so, 11:00.
George Kuchar, Hold Me While I¹m Naked, 1966. 16mm, color/so, 15:00.
Steve Reinke, Understanding Heterosexuality, 1994. Video, b&w/so, 01:28.
Steve Reinke, Pioneer, 1994. Video, b&w/so, 01:13.
Steve Reinke, Assplay, 1995. Video, color/so, 01:36.
 Joe Gibbons, Pretty Boy, 1994. Pixelvision, b&w/so, 03:00.
Steve Reinke, Corey, 1995. Video, color/so, 02:51.
Steve Reinke, Regarding the Pain of Susan Sontag (Notes on Camp), 2006. Video, color/so, 4:00.

Steve Reinke is an artist and writer best known for his videos. His tapes typically have diaristic or collage formats, and his autobiographical voice-overs share his desires and pop culture appraisals with endearing wit. He is co-editor of the anthology The Sharpest Point: Animation at the End of Cinema and in has published a collection of his scripts entitled Everybody Loves Nothing. His work is screened widely and is part of several collections, including the Museum of Modern Art (New York), the Centre Pompidou (Paris), and the National Gallery of Canada (Ottawa).

Sarah Robayo Sheridan is a Canadian writer and curator living in San Francisco. She has co-curated Learning to Love You More at MU (Eindhoven, 2007) and also presented Chris Marker¹s multi-screen installation The Hollow Men at both Prefix ICA (Toronto, 2006) and Daziboa (Montreal, 2006). She is currently completing an MA in Curatorial Practice at the California College of the Arts.

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