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Diana Thater

Abyss of Light, 1995

Three video projectors, three players, and Lee filters
About the work
Exhibition history
Provenance
Los Angeles County Museum of Art
Los Angeles
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Installation view at Kunsthalle Bremen, Bremen, Germany, 2004

Dimensions variable

Installation view at Kunsthalle Bremen, Bremen, Germany, 2004

Dimensions variable

Image rights
Courtesy of Diana Thater Photo: Roman Mensing/artdoc.de
Diana Thater
American, b. 1962
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Diana Thater’s installations challenge the notions of narrative and representation in film and video. Focusing on the ways in which humans relate to the natural world, as well as the historical power dynamics between humans and animals, Thater’s films are based on staged premises and heavily mediated by the presence of the camera. For one of the installations in her 2008 exhibition entitled “Here is a text about the world,” Thater shot aerial footage that allowed viewers to see falconers and their grounded birds from above, reversing the usual perspectival relationship between human and bird. A significant aspect of Thater’s practice is laying bare the secrets of her medium by placing projectors prominently in a space, undermining the illusion as she creates it.

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share
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About the work
Exhibition history
Provenance
Los Angeles County Museum of Art
Los Angeles
Follow

Installation view at Kunsthalle Bremen, Bremen, Germany, 2004

Dimensions variable

Installation view at Kunsthalle Bremen, Bremen, Germany, 2004

Dimensions variable

Image rights
Courtesy of Diana Thater Photo: Roman Mensing/artdoc.de
Diana Thater
American, b. 1962
Follow

Diana Thater’s installations challenge the notions of narrative and representation in film and video. Focusing on the ways in which humans relate to the natural world, as well as the historical power dynamics between humans and animals, Thater’s films are based on staged premises and heavily mediated by the presence of the camera. For one of the installations in her 2008 exhibition entitled “Here is a text about the world,” Thater shot aerial footage that allowed viewers to see falconers and their grounded birds from above, reversing the usual perspectival relationship between human and bird. A significant aspect of Thater’s practice is laying bare the secrets of her medium by placing projectors prominently in a space, undermining the illusion as she creates it.

Diana Thater

Abyss of Light, 1995

Three video projectors, three players, and Lee filters
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