Queer Art Camp Superstar

Ricardo E. Zulueta

Description

Hailed as "the most consequential artist to have emerged since the nineteen-eighties," American artist and filmmaker Ryan Trecartin has received numerous accolades for his kaleidoscopic, multilayered movies and multimedia installations. However, there exists to date no comprehensive study of this prolific artist's work. Queer Art Camp Superstar compensates for this absence of sustained critical analysis of Trecartin's work by looking closely at a selection of his most significant movies in order to discern the artist's artistic genealogy, evolving aesthetics, radical approach to digital and Internet culture, and impact on contemporary art, film, and media.

Examining Trecartin's substantial body of work, spanning from his early, pre-YouTube era series Early Baggage (2001–2003) to Temple Time (2016), Ricardo E. Zulueta adheres to a faithful chronological order, thus inviting readers to witness the ways thematic and formal concerns have evolved from Trecartin's earliest movies to his more recent multimedia cinematic installations. Through precisely chosen screen captures extracted directly from the movies, Zulueta demonstrates the serious attention paid to camera angles, mise-en-scène, and shot transitions, thus revealing and reflecting on the concepts that underwrite and are underwritten in these narratives. Giving careful attention to Trecartin's network of layered references to the grotesque and abject, carnivalesque and ludic, and camp imagery, Zulueta illustrates and explains how the artist takes on reality television, technology, fashion, consumption, and cyberspace.
List of Illustrations
Acknowledgments
Introduction

1. Early Baggage: Filmic Experimentation and Televisuality Retrieved as “Carry-On” Language

2. A Family Finds Entertainment:  The “Coming Out” Melodrama Remix

3. I-BE Area: Altermodern Time and  Cyberqueer Place

4. Any Ever: Stardom, Fashion,  and Consumption

5. Priority Innfield: Interactive Gaming  Simulation as Expanded Cinema

Conclusion: SITE VISIT and Closing Remarks

Notes
Filmography
Bibliography
Index

Sujets

• Histoire du cinéma
• Histoire du cinéma
• Histoire du cinéma
• Cinéma
• Cinéma
• Cinéma
• Cinema
• Film
• Electronic
• History of film
• Visual culture
• Película fotográfica

Informations

• Publié par: State University of New York Press
• Date de parution: 01 mars 2018
• Nombre de lectures: 1
• EAN13: 9781438468952
• Langue: English

Extrait

QUEER ART CAMP SUPERSTAR
Also in the series
William Rothman, editor, Cavell on Film
J. David Slocum, editor, Rebel Without a Cause
Joe McElhaney, The Death of Classical Cinema
Kirsten Moana Thompson, Apocalyptic Dread
Frances Gateward, editor, Seoul Searching
Michael Atkinson, editor, Exile Cinema
Paul S. Moore, Now Playing
Robin L. Murray and Joseph K. Heumann, Ecology and Popular Film
William Rothman, editor, Three Documentary Filmmakers
Sean Griffin, editor, Hetero
Jean-Michel Frodon, editor, Cinema and the Shoah
Carolyn Jess-Cooke and Constantine Verevis, editors, Second Takes
Matthew Solomon, editor, Fantastic Voyages of the Cinematic Imagination
R. Barton Palmer and David Boyd, editors, Hitchcock at the Source
William Rothman, Hitchcock: The Murderous Gaze, Second Edition
Joanna Hearne, Native Recognition
Marc Raymond, Hollywood’s New Yorker
Steven Rybin and Will Scheibel, editors, Lonely Places, Dangerous Ground
Claire Perkins and Constantine Verevis, editors, B Is for Bad Cinema
Dominic Lennard, Bad Seeds and Holy Terrors
Rosie Thomas, Bombay before Bollywood
Scott M. MacDonald, Binghamton Babylon
Sudhir Mahadevan, A Very Old Machine
David Greven, Ghost Faces
James S. Williams, Encounters with Godard
William H. Epstein and R. Barton Palmer, editors, Invented Lives, Imagined Communities
Lee Carruthers, Doing Time
Rebecca Meyers, William Rothman, and Charles Warren, editors, Looking with Robert Gardner
Belinda Smaill, Regarding Life
Douglas McFarland and Wesley King, editors, John Huston as Adaptor
R. Barton Palmer, Homer B. Pettey, and Steven M. Sanders, editors, Hitchcock’s Moral Gaze
Neenad Jovanovic, Brechtian Cinemas
Will Scheibel, American Stranger
Amy Rust, Passionate Detachments
Steven Rybin, Gestures of Love
Seth Friedman, Are You Watching Closely?
Roger Rawlings, Ripping England!
Michael DeAngelis, Rx Hollywood
QUEER
ART
CAMP
SUPERSTAR
Decoding the CINEMATIC CYBERWORLD of Ryan Trecartin
RICARDO E. ZULUETA
Cover art design: Kirk Warren Studio
Published by State University of New York Press, Albany
© 2018 Ricardo E. Zulueta
All rights reserved
Printed in the United States of America
No part of this book may be used or reproduced in any manner whatsoever without written permission. No part of this book may be stored in a retrieval system or transmitted in any form or by any means including electronic, electrostatic, magnetic tape, mechanical, photocopying, recording, or otherwise without the prior permission in writing of the publisher.
For information, contact State University of New York Press
Albany, NY
www.sunypress.edu
Library of Congress Cataloging-in-Publication Data
Names: Zulueta, Ricardo Estanislao, author.
Title: Queer art camp superstar : decoding the cinematic cyberworld of Ryan Trecartin / Ricardo E. Zulueta.
Description: Albany, NY : State University of New York Press, 2018. | Series: SUNY series, Horizons of cinema | Includes bibliographical references and index.
Identifiers: LCCN 2017018230 (print) | LCCN 2017019162 (ebook) | ISBN 9781438468952 (e-book) | ISBN 9781438468938 (hardcover : alk. paper)
Subjects: LCSH: Trecartin, Ryan, 1981-—Criticism and interpretation. | Video art—United States—History and criticism.
Classification: LCC N6537.T665 (ebook) | LCC N6537.T665 Z85 2018 (print) | DDC 777.0973—dc23
LC record available at https://lccn.loc.gov/2017018230
10 9 8 7 6 5 4 3 2 1
Contents
List of Illustrations
Acknowledgments
Introduction
1 Early Baggage : Filmic Experimentation and Televisuality Retrieved as “Carry-On” Language
2 A Family Finds Entertainment : The “Coming Out” Melodrama Remix
3 I-BE Area : Altermodern Time and Cyberqueer Place
4 Any Ever : Stardom, Fashion, and Consumption
5 Priority Innfield : Interactive Gaming Simulation as Expanded Cinema
Conclusion
SITE VISIT and Closing Remarks
Notes
Filmography
Bibliography
Index
Illustrations
I.1 Roamie View: History Enhancement (Re’Search Wait’S) (2010)
1.1 Valentine’s Day Girl (2001)
1.2 Valentine’s Day Girl (2001)
1.3 Valentine’s Day Girl (2001)
1.4 Valentine’s Day Girl (2001)
1.5 Valentine’s Day Girl (2001)
1.6 Valentine’s Day Girl (2001)
1.7 Valentine’s Day Girl (2001)
1.8 Valentine’s Day Girl (2001)
1.9 Flaming Creatures (1963)
1.10 Wayne’s World (1992)
1.11 Wayne’s World (2003)
1.12 MTV Logo
1.13 Wayne’s World (2003)
1.14 Wayne’s World (2003)
1.15 Wayne’s World (2003)
1.16 Wayne’s World (2003)
1.17 Wayne’s World (2003)
1.18 Britney Spears, I’m a Slave 4 U (2001)
2.1 All That Heaven Allows (1955)
2.2 A Family Finds Entertainment (2004)
2.3 A Family Finds Entertainment (2004)
2.4 A Family Finds Entertainment (2004)
2.5 A Family Finds Entertainment (2004)
2.6 A Family Finds Entertainment (2004)
2.7 A Family Finds Entertainment (2004)
2.8 A Family Finds Entertainment (2004)
2.9 A Family Finds Entertainment (2004)
2.10 A Family Finds Entertainment (2004)
2.11 A Family Finds Entertainment (2004)
2.12 A Family Finds Entertainment (2004)
2.13 A Family Finds Entertainment (2004)
2.14 A Family Finds Entertainment (2004)
2.15 A Family Finds Entertainment (2004)
2.16 A Family Finds Entertainment (2004)
2.17 A Family Finds Entertainment (2004)
2.18 A Family Finds Entertainment (2004)
2.19 A Family Finds Entertainment (2004)
2.20 A Family Finds Entertainment (2004)
2.21 A Family Finds Entertainment (2004)
2.22 A Family Finds Entertainment (2004)
2.23 A Family Finds Entertainment (2004)
2.24 A Family Finds Entertainment (2004)
2.25 A Family Finds Entertainment (2004)
3.1 I-BE Area (2007)
3.2 I-BE Area (2007)
3.3 I-BE Area (2007)
3.4 I-BE Area (2007)
3.5 I-BE Area (2007)
3.6 I-BE Area (2007)
3.7 I-BE Area (2007)
3.8 I-BE Area (2007)
3.9 I-BE Area (2007)
3.10 I-BE Area (2007)
3.11 I-BE Area (2007)
3.12 I-BE Area (2007)
3.13 I-BE Area (2007)
3.14 I-BE Area (2007)
3.15 I-BE Area (2007)
3.16 I-BE Area (2007)
3.17 I-BE Area (2007)
3.18 I-BE Area (2007)
3.19 I-BE Area (2007)
3.20 I-BE Area (2007)
4.1 K-CoreaINC.K (section a) (2009)
4.2 K-CoreaINC.K (section a) (2009)
4.3 K-CoreaINC.K (section a) (2009)
4.4 K-CoreaINC.K (section a) (2009)
4.5 Photo by Petrovsky and Ramone, spring/summer 2013, Bernhard Willhelm Collection
4.6 Photo by Dan and Corina Lecca, fall/winter 2011, Walter Van Beirendonck Collection
4.7 Nick Cave, Soundsuit
4.8 Negative Beach in W magazine, November 2010
4.9 Ready (Re’Search Wait’S) (2010)
4.10 Crop Charity in W magazine, November 2010
4.11 Ready (Re’Search Wait’S) (2010)
4.12 The Devil Wears Prada (2006)
4.13 General Control in W magazine, November 2010
4.14 Anti-Virals in W magazine, November 2010
5.1 Junior War (2013)
5.2 Center Jenny (2013)
5.3 Doom (1993)
5.4 Center Jenny (2013)
5.5 Center Jenny (2013)
5.6 Center Jenny (2013)
5.7 Center Jenny (2013)
5.8 Comma Boat (2013)
5.9 Center Jenny (2013)
5.10 Center Jenny (2013)
5.11 Center Jenny (2013)
5.12 Center Jenny (2013)
5.13 Center Jenny (2013)
5.14 Jet Set Radio (2000)
5.15 Item Falls (2013)
5.16 Item Falls (2013)
C.1 SITE VISIT (2014)
C.2 SITE VISIT (2014)
C.3 SITE VISIT (2014)
Acknowledgments
I AM GRATEFUL TO William Rothman for his friendship, insightful comments on drafts of this manuscript, and continued unwavering support of my work. I also wish to thank Murray Pomerance, the Horizons of Cinema series editor, for his enthusiasm for the project. Much gratitude goes to James Peltz, Rafael Chaiken, Beth Bouloukos, Jenn Bennett, and Michael Campochiaro at SUNY Press for their diligent attention and assistance in navigating the publication process. Additionally, the quality of this book was undoubtedly improved with the careful reading and productive comments of the anonymous peer reviewers.
I extend my sincere appreciation to Damian Young, Tom Roach, and Michael McGandy for their willingness to engage in conversation concerning this book project. Gratitude is also due to Walter Van Beirendonck, Nick Cave, Dan and Corina Lecca, and Bernhard Willhelm. I would like to acknowledge members of my doctoral dissertation committee, Grace Barnes, Steve Butterman, Christina Lane, and William Rothman, as well as former University of Miami faculty, John Renaud and the late Paula Harper for their invaluable advice. Thanks also go to my students at the University of Miami who inspired and challenged me with dynamic discussions regarding art, film and media, and technology.
I owe much gratitude to my mother, Guillermina Riaño, whose unconditional love and encouragement has sustained me in achieving many of my aspirations. Finally, I could not have completed this book without the love and support of my spouse, Jonathan Choukroun, to whom this book is dedicated.
Introduction
I WAS INTRODUCED TO Ryan Trecartin’s videos on YouTube in 2008 and later experienced his work offline while attending his first major solo museum exhibition, Any Ever , at the Museum of Contemporary Art, North Miami