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- W1967811471 abstract "OCTOBER 125, Summer 2008, pp. 91–116. © 2008 October Magazine, Ltd. and Massachusetts Institute of Technology. On Friday, June 11, 1993, the New York Times ran an obituary written by art critic Roberta Smith with the headline, “Juan Downey, 53, A Pioneer of Video as a Medium for Art.” In her notice, Smith accurately observed, “From an involvement with perception and random sounds and images, Mr. Downey turned in the early 1970s to ecological subjects and then to politics and history. His work frequently had an autobiographical aspect, making use of his Indian-Spanish heritage and his experiences in Europe and America to examine issues of identity and power.”1 This statement rightfully positions Downey as a pioneer in tackling the preoccupation with identities and multiculturalism that was current in American art discourse in the early 1990s. The undesired aftereffect of applying multiculturalism as a mapping machine for differences, however, was to re-encircle these differences within identities that were considered as homogeneous constructs. In order to do so, the methodology of classification had to be stabilized. Consequently, to reexamine Downey’s work critically means to try to establish specific historical, ideological, and theoretical parameters to preserve its heterogeneous nature. In this text I will attempt to overcome the unintentional oblivion implicit in Smith’s obituary; describing Downey as an early practitioner of a late artistic discipline who posed questions before they became current somehow overshoots the postmortem critical reception of his work—or lack thereof. I will trace the ideological genealogy of Downey’s Video Trans Americas that began in 1973 and culminated in 1977. In this notable work, Downey, together with his wife, Marilys, and her teenage daughter Titi Lamadrid, engaged the Yanomami Indians of the Amazon basin. I will show that not only did Video Trans Americas problematize identities, disciplines, and fundamental categories such as anthropology and the document, it also problematized the very ontology of the “artist” and his attendant “body of work.” Downey’s avant la lettre experiments and experiences revealed and exploited a fault line inherent in the attempt to liberate" @default.
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- W1967811471 date "2008-07-01" @default.
- W1967811471 modified "2023-09-24" @default.
- W1967811471 title "Feedback in the Amazon" @default.
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- W1967811471 doi "https://doi.org/10.1162/octo.2008.125.1.91" @default.
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