Language Is a Virus

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This conversation between the Croatian-born artist Dora Budor, whose science-fiction-inspired installation Spring was on view in the Swiss Institute’s basement, and Chrissie Iles, a film curator at the Whitney Museum of American Art, lasted only forty-five minutes. To some in the audience, it felt like an eternity. While the discussion started out informative—Iles sketched out a history of science fiction from its nineteenth-century origins in literature to its adoption by cinema in the twentieth—it slid steadily into unintelligibility. By the end of the event, Budor and Iles had made hash of potentially exciting topics, among them the relationship of human bodies to technology and the impact of computer-generated imagery (CGI) on perception, with maddeningly convoluted and directionless statements. It wasn’t pretty.

Chrissie Iles and Video-Art Distribution

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For her lecture at Hunter College, Chrissie Iles, curator of film and video at the Whitney Museum of American Art, gave a basic overview of projection art (film, video, slides) from the 1960s to the present. It was an engaging talk with a lot of images to look at. I asked a question during the postlecture Q&A session, though not as articulately as I would have liked. I queried her on why artists haven’t explored—or appropriated—modes of distribution through Netflix (for rentals) or Amazon (for sales).



Reviews of lectures, panels, interviews, conferences, and other live speaking engagements in the visual arts.

Funding for In Term Of has been provided by the Arts Writers Grant Program.