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Kevin Hanley

Born in Sumter, South Carolina in 1969, Kevin Hanley has a BFA from Otis Art Institute, Los Angeles and a MFA from Art Center College of Design, Pasadena. Hanley has exhibited internationally, including at the 50th Venice Bienale (2003), SITE Santa Fe (2003, 1997), and Los Angeles County Museum of Art (2000). He lives and works in Los Angeles.

Kevin Hanley is a Los Angeles-based artist whose practice includes video, photography, performance and sound. Engaging with the slippery relationship between time, memory and reason, Hanley is best known for structural studies in which he eliminates linear narrative. His humorous investigations into the mechanics of media toy with imagery by distorting the functions of space, movement, sound, context and color to create new perspectives.

Exhibitions

  • Threesixty

    KEVIN HANLEY
    March 19–April 23, 2005

    Kevin Hanley is a Los Angeles-based artist whose practice includes video, photography, performance and sound. Engaging with the slippery relationship between time, memory and reason, Hanley is best known for structural studies in which he eliminates linear narrative. His humorous investigations into the mechanics of media toy with imagery by distorting the functions of space, movement, sound, context and color to create new perspectives.

    Threesixty is a lifesize video installation of a skateboarder doing a 360 degree turn while cameras shoot him from four angles. The footage is edited so that the skater, while turning, appears to stay still while the room turns around him. The result is a collapse of linearity and a presentation of an impossible view (a view not possible from the subjective position of the skateboarder or cameras, only available to the viewer of the video installation). Hanley draws a parallel between music DJing techniques and his visual work with an interest in the writing and reading of the record (according to Adorno, the record’s message is ‘simultaneously fixed and hidden’, delivering an abstract indexical writing contained within the groove). Accordingly, in the video work Re-counting a Dancing Man, Hanley manually moves the footage of a store-bought Fred Astaire dance performance giving it the appearance of jumping forward and back akin to a DJ’s record scratching.

    Threesixty is the first in a two part series that takes the mixing of music and video as a starting point. Hanely’s exhibition, his first in Canada, is followed by the work of London artist Christian Kuras who also manipulates visual imagery through a relationship to the treatment of sound. Hanley’s suspension of action and conflated viewpoints sets up a dialogue with Kuras’ work that examines the hearing and seeing of looped sound to reflect upon a self-contained circularity of power.

Talks & Events

  • Artist Talk

    KEVIN HANLEY
    March 19, 2005

    Artist’s talk presented in conjunction with the exhibition, Threesixty.

Publications

  • Correlated Rotations

    Correlations front
    Correlations spine
    Correlations back

    Title: Correlated Rotations
    Category: Exhibition Catalogue
    Artist: Brady Cranfield, Kevin Hanley, Christian Kuras, Tim Lee
    Writers: Tim Lee
    Editor: Artspeak
    Design: Julian Gosper
    Publisher: Artspeak
    Year published: 2005
    Cover: Paper
    Binding: Three-panel Foldout
    Process: Offset
    Features: 3 colour images, 7’’ vinyl record by Brady Cranfield
    Dimensions: 18.5 x 18.5 x 0.5 cm
    Weight: 113 g
    ISBN: 0-921394-51-9
    Price: $20 CDN