T. Kelly Mason and Diana Thater

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T. Kelly Mason and Diana Thater

Biography

Artist and musician T. Kelly Mason and artist Diana Thater have collaborated on several video and performance projects that explore and deconstruct the act of art-making. In their best-known video work, JUMP (2004-5), a rock band plays different versions of Bob Dylan’s Subterranean Homesick Blues (1965) alongside 20 adolescent synchronized jump ropers. Mason designed both the contained box-stage in which the band performs, and the t-shirts worn by the jumpers—the text for which references Dylan’s renowned video, often considered to be the first ever music video. Camera equipment is visible in the film, as are cuts and breaks, rendering the filmmaking process transparent. Thater was “interested in taking apart romantic notions of the art form,” as she described. In Relay (2007), Mason’s band performs three versions of the song “Why Can’t I Touch It” (1979) by the punk band Buzzcocks; Thater filmed the band surrounded by mirrors, and the footage is projected in a mirrored space, further complicating the viewer’s experience.

Biography

Artist and musician T. Kelly Mason and artist Diana Thater have collaborated on several video and performance projects that explore and deconstruct the act of art-making. In their best-known video work, JUMP (2004-5), a rock band plays different versions of Bob Dylan’s Subterranean Homesick Blues (1965) alongside 20 adolescent synchronized jump ropers. Mason designed both the contained box-stage in which the band performs, and the t-shirts worn by the jumpers—the text for which references Dylan’s renowned video, often considered to be the first ever music video. Camera equipment is visible in the film, as are cuts and breaks, rendering the filmmaking process transparent. Thater was “interested in taking apart romantic notions of the art form,” as she described. In Relay (2007), Mason’s band performs three versions of the song “Why Can’t I Touch It” (1979) by the punk band Buzzcocks; Thater filmed the band surrounded by mirrors, and the footage is projected in a mirrored space, further complicating the viewer’s experience.