Rose Video 01: “Omer Fast, 5000 Feet Is the Best” Mildred S. Lee Gallery Omer Fast’s 30-minute video “5000 Feet Is the Best” employs both documentary and cinematic techniques to confront America’s military use of drones. (The work’s title refers to the ideal height of a war drone.) “It’s not like a video game. I can’t switch it off. It’s always there,” says the former Predator drone pilot whom Fast interviewed about the technical aspects of his missions in Pakistan and Afghanistan. The pilot’s observations are spliced together with a dramatized interview of a fictional drone operator. The fictional interview occurs in three sequences, OMER FAST, STILL FROM “5000 FEET IS THE BEST,” (2011), DIGITAL FILM, 20-MINUTE LOOP. COURTESY GB AGENCY, PARIS; AND ARRIATIA BEER, each offering a different anecdote or BERLIN. STILL: YONN THOMAS extended metaphor on the origins and repercussions of drone technology. By displacing some of the psychotrauma that they describe. By inserting himself into the narrative, logical effects of the job onto an actor, Fast highlights the ethical Fast encourages us to likewise imagine ourselves as a witness and ambiguities of drone surveillance and warfare in society at large. participant in an expanded debate over drones and U.S. foreign Fast, born in Jerusalem and based in Berlin, has said that he policy. “Omer Fast, 5000 Feet Is the Best,” curated by Chris Bedlikes to work with those “whose story is somewhere between ford, inaugurates Rose Video, an ongoing video series housed in an experience and its re-enactment, the push and pull between the newly renovated Mildred S. Lee Gallery. historical time, personal time and dramatic time.” Here, Fast —Lori Cole, Charlotte Zysman Postdoctoral Fellow in the structures the elliptical interview sequences to resemble the Humanities and Lecturer in Fine Arts
Image Machine: Andy Warhol and Photography Lois Foster Gallery This exhibition focuses on Warhol’s exploration of the photographic medium. In addition to appropriating photographs from mass media, Warhol was a photographer in his own right. He left behind more than 100,000 Polaroids and gelatin silver prints of his social life and environment, relatively understudied until the formation of the Warhol Photographic Legacy Program, through which the Rose received the pieces that form the core of this exhibition. Curated by Joseph Ketner and co-organized by the Contemporary Arts Center, Cincinnati.
“UNCLE SAM” (1981), POLACOLOR 2, THE ANDY WARHOL PHOTOGRAPHIC LEGACY PROGRAM, ROSE ART MUSEUM. © 2013 THE ANDY WARHOL FOUNDATION FOR THE VISUAL ARTS, INC./ARTISTS RIGHTS SOCIETY (ARS), NEW YORK
“CHERYL TIEGS” (1984), POLACOLOR ER, THE ANDY WARHOL PHOTOGRAPHIC LEGACY PROGRAM, ROSE ART MUSEUM. © 2013 THE ANDY WARHOL FOUNDATION FOR THE VISUAL ARTS, INC./ARTISTS RIGHTS SOCIETY (ARS), NEW YORK
Minimal and More: 1960s and 1970s Sculpture From the Collection Lower Rose Gallery
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Collection in Focus: Al Loving Mildred S. Lee Gallery
fall 2013
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STATE OF THE ARTS | BRANDEIS UNIVERSITY 13
8/26/13 6:58 PM