The influential video artist dies in 78

Dara Perbum, a video artist who changed her forever through the works that rebelled against the main media, died on Friday at the age of 78. A spokeswoman for Marian Judman, her representative for a long time, confirmed her death, but she did not specify a case.

The hosts of video artists who work today condemn the debts of Burnabum, who have found smart ways to raise the scope of information in one direction flowing into the media, especially on TV screens. During the late 1970s and eighties of the last century, it began harvesting pictures of pirated tapes from TV programs, then tied their photos. It has been reshaped and re -implemented, and is now troubled and repeated, which inhibits negative viewing.

I have produced facilities from its TV materials, with the use of technology that was at that time relatively new in the art world and the difficulty of artists, and in this process, I found ways to create tears in the fabric of the media, and revealed inherent forms of bias that were often invisible to see most of them at home.

in Art in America An interview with coordinator Lauren Cornell, who would continue to organize the first artist retroactively in 2022, Perpnum said: “I would like to create a space for showing and thinking that does not usually happen within this society, especially through the mass media.”

Her most famous work remains Technology/Transformation: Wonder Woman (1978-1979), where the lynda Carter clips are now a loop that plays the superheroes, with explosions and music signals from the TV series now created musical music for Birnbaum. While viewers watched over and over again, Cart appears around it, running through a forest, and dividing a line in a mirror using its nail, they are made of its kind on the type of feminism that is truly presented through the offer from which these sectors came from. In the middle of the road, Birnbau shared a short clip of the explosion, then follows it with a set of the Disco Disco “Shake Thy Wondermaker!”

Birnbauum had intended the video to question the hidden policy of Wonder. “I will not call this liberation,” she said. ARTNEWS In 2018, “How dare to confront me with this supposed image that is operating in a superior way for a stronger woman than me and you can also save the human race? I cannot do that, and there will be no middle land between.

Technology/transformation It is now considered a test, both in the history of feminist art and video art. In 2019, T: New York Times Style magazine Description One of the distinctive art pieces in our time. Lori Zebai, former director of the e -organization that focuses on video arts, ARTNEWS This works by Birnbauum like this one. “It strongly affects the way we look at pictures and culture.”

Although the art of video is now a key player in museums and commercial exhibitions, it was not this way when Birnbauum produced Technology/transformationThe first time I presented at the Soho Hair Salon store in New York and later displayed at Danceteria and Mudd Club. But later, Birnbau’s business entered the prevailing spaces, with a discovery every two years like Documenta. I told the artist Martha Rosler R.“Darra discovered how to enter her work in the art world,” unlike other video artists, “he was not interested in that.”

Birnbaum innovations have been widely seen. I have been designed sometimes on the first video wall that was absolutely installed in the United States – a multi -screen installation in 1989 which is characterized by a live CNN and various effects that appeared in the shopping center in Atlanta – and its art broadcast on MTV. Her work was a catalog cover for a 2023 video scan in the Museum of Modern Art, and Technology/transformation It appeared in many surveys, including the controversial Hannah Gadpsby show, “It’s Pablo Mattik” at the Brooklyn Museum in 2023.

Its impact is so vast that it is the form of the way in which the crowds of artists-even non-teachers-think. In 2023 Artforum conversation“I expected the way people express themselves today through technology.”. In the same year, Also in ArtforumThe artist Martin Sims is called “one of my heroes.”

Dara Perbneum was born in 1946 in Queens, New York. Her father was an architect. Her mother is a housewife. I joined the University of Carnegie Mellon with the intention of becoming an architect, and when graduated in 1969, she moved to San Francisco and got a job at Lawrence Halborne and Co..

She said that “architectural planning always seemed to return to the economy and politics,” and thus decided to move towards the art field, and register at the San Francisco Institute of Art. Although she thought at the time that she might return to architecture, she did not look back. I got BFA in the drawing and then went to the Arts School in Florence.

Everything changed in 1974, when, while walking on Florence Street, she appeared on an exhibition with prints by Dennis Obenheim and Vito Akonsei visible from abroad. Despite the closure of the exhibition, it was invited to watch a video by Alan Cabro, which caused interest in this method. “I changed this participation in my life,” she said once in Interview with Drawing is a matter.

Birnbaum early videos, filmed using a Portapak camera, have shots of making it, and although they are less than the work that followed, these videos are still provocative in their own way. The attack piece (1975) It contains two channels: one displays the fixed images that were filmed by Birnbau as it is moved by men and women with cameras, and the other shows shots of Birnbauum their shots. It was produced two years after a famous article by the cinematic researcher, Laura Moulifi, who organized a “male look”, and explores the disturbing installation, which means to be an active exhibitor – which should be one.

Almost at this time, Birnbauum started immersing itself in theory about art and cinema, and religious reading issues October It bought it using the accumulated money from its waitress. “After saving money for purchase a screen and October Through the waitress, I read these situations and say, “Oh my God, they are not talking at all about TV!” ARTNEWS. Thus, this was followed by what he called “rebellion”.

This was an era before the flow, when it was extremely difficult to see restarts and obtain previous TV programming records. “There was no direct access to the TV, and this means a lot to me,” said Beranjane. Its access method was not legally legally: I worked with sources planted in the networks to buy hard -to -find tapes, then worked with the shots by hand.

Its goals were some of the most famous programs in its day: the comic play Laverne and ShirleyCrime drama KojakDisplay reality Hollywood boxes. I have defended these shows, excessive sound of the image and breaking the shots free of the accounts to which they belong to. Gradually, I noticed the world of art: She was one of the artists showing the art of video in Documenta 7 of 1982, whose Secretary, Rudi Fox, directed this exhibition about drawing.

While Birnbauum was always political, her participation with current today’s issues was only deepened in the years that followed. In 1990, it was made Tiananmen Square: Transfer of TransitionHe responded to the students’ rebellion in China in the previous year. Footage of news broadcasts on these events appear on small screens hanging from the ceiling, their photos were disrupted from time to time when the transformer imposes the video feeding for change. A complete picture of the protests never appears.

Later, Birnbau sometimes turned their attention to the digital field. arabesque (2011), Installing a wide -ranging video about pianists over time, characterized by YouTube clips for women along with clips of Love song1947 movie, starring Catherine Hepburn as Clara Schumannan composer. Shoman was largely marginalized in favor of her husband, composer Robert Shoman, and Birnabum are now focusing Clara, as well as the other women who followed her. Video, proposed by Birnbau, it can help reorganize the date.

While Birnbau has been widely recognized as a force within video art, it often had more attention abroad. Ratioized 2009 appeared at the Stelijk Voor Actuele Kunst (SMAK) museum in Ghent, Belgium, and SerralVes in Porto, Portugal, but it did not reach the United States, the country where Birnbau spent its entire career. It took another 13 years to appear retroactively in her country of origin, at the Hessel Arts Museum in a cold college.

Its production has slowed in recent years, but it has been committed to the beliefs that have always been directed by her art. “It is important to take this time to know what we all want to fight for, to stop, to slow down and control our attention as it is really important to defend it,” a catalog quoted its presentation on the Bard program about the 2020 enlargement lecture that it gave to the school students.