london

Morgan Fisher, Red Boxing Gloves/Orange Kitchen Gloves, 1980, two-channel video (Polavision cassettes transferred to DVD), color, silent, 3 minutes 20 seconds.

Morgan Fisher

Maureen Paley

Morgan Fisher, Red Boxing Gloves/Orange Kitchen Gloves, 1980, two-channel video (Polavision cassettes transferred to DVD), color, silent, 3 minutes 20 seconds.

Much recent engagement with photochemical film tends to reflect a fetishistic investment in the uniqueness of its materiality. The work of Morgan Fisher is different: His interest is in the conjunction of this material support and the demands of industry. For Fisher, film is less artisanal than it is inextricable from the standards imposed by corporations in the field, such as Agfa-Gevaert. Of course, it is exactly this tie to industry that has cast the medium into obsolescence, a topos that looms large in Fisher’s recent exhibition “Past Present, Present Past.”

In the 1970s, Fisher worked in the Hollywood industry while maintaining a practice as an avant-garde filmmaker, thus inhabiting the peculiar nexus of two areas of film practice typically considered to be resolutely separate, if not antagonistic. Production Footage, 1971, puts these two kinds of filmmaking face-to-face to

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