Jordan Crandall

 

Jordan Crandall is an artist and media theorist whose work is concerned with surveillance, agency, and filmic language. Among his recent works, both Drive and Heatseeking hurl the viewer from one point of view to another. Using 16mm film, DV, nightvision cameras, and other military derived technology, Crandall conflates multiple modes of watching: we see images as if we were an audience member in a theater, a pilot on a bombing run, a border patrol looking for illegal aliens, or a video game player. His work asks us to consider the agencies behind these modes of viewing, and how we are being changed by them. Recent exhibitions include CTRL [SPACE] at ZKM, Zentrum fur Kunst und Medientechnologie Karlsruhe, Germany, Spring 2002, and the Whitney Museum's BitStreams exhibition Spring 2002. Other venues include Documenta X in Kassel, Net_Condition at ZKM in Karlshrue, and InSITE 2000 in San Diego and Tijuana. He also lectures extensively on technology and culture and writes for a variety of media, including Artforum, Atlantica, TRANS.arts.cultures.media, and CTHEORY. An anthology of Crandall's critical writing on technology and culture, with an introduction by Peter Weibel, will be published in 2001 by Cantz Verlag and ZKM. Crandall is also founding Editor of Blast (http://www.blast.org) and director of the X Art Foundation, New York. He is represented by Henry Urbach Architecture, NYC.

 

 

 

Jordan Crandall challenges the viewer's knowledge of high technology; he positions himself as an infiltrator of information, as both the critic, and the consumer of the product, one who is seduced by technology []

 

Magnetic masturbation. The films were shot expressively, swiftly paced. The effect of the montaged films suggests the input of information from our technology ridden society, everything from computers, cyberspace, advertising, and sexuality slurred across the streets of New York City, a wireless stream of consciousness overloaded with information from strip joints to bus stops. We are in a state of emergency from living in our disembodied existence in our electronic worlds. The seduction of both the imagery and the media that Crandall uses stimulate our techno-senses and critiques our simulated realities. Crandall's work is idealistic in his attempt to redesign, for lack of a better word, a utopian vision of everyday viewing material.

 

{excerpt from "Drive," Jordan Crandall at Sandra Gering, 0ct 22 - Nov 28, 1998 by Janine Gordon, 12/23/1998 THE THING [Reviews] http://bbs.thing.net }