los-angeles

Kevin Hanley

ACME.

For better or worse, much of the critical debate about video-making as an artistic practice has centered around the fact that the medium is intrinsically time-based. This by-now somewhat tiresome line has generated the interdiction that we take video—and the question of its temporality—seriously, even philosophically. In the hands of Kevin Hanley, however, video treads lightly, and ideas and concepts seem almost spontaneously generated—in the case of the artist’s new exhibition, literally out of the blue. In one of the two video projections on view, Fred Astaire dances against a dazzling blue field in a rapid and mesmerizing comedy of time and motion. The work is titled Recounting a Dancing Man, 1998, and Hanley has “recounted” one of the actor’s dance routines by putting a segment of Charles Walters’s 1952 Astaire vehicle The Belle of New York into a digital mixing system. Premiere, the

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