TONY COKES: On Non-Visibility

 Courtesy the artist and Greene Naftali, New York

Courtesy the artist and Greene Naftali, New York

Tony Cokes: On Non-Visibility. Curated by Sohrab Mohebbi

April 27th – June 9th, 2018 - Greene Naftali, 8th Floor

Since the early 1980s Tony Cokes has developed a precise visual and discursive style marked by videos that feature animated text, found images, solid-color slides, and pop music.

 Tony Cokes, Installation view,  On Non-Visibility , Greene Naftali, 2018 - Courtesy the artist and Greene Naftali, New York

Tony Cokes, Installation view, On Non-Visibility, Greene Naftali, 2018 - Courtesy the artist and Greene Naftali, New York

 Tony Cokes \  Evil 35: Carlin / Owners , 2012 - Courtesy the artist and Greene Naftali, New York

Tony Cokes \ Evil 35: Carlin / Owners, 2012 - Courtesy the artist and Greene Naftali, New York

 Tony Cokes \  Evil 35: Carlin / Owners , 2012 - Courtesy the artist and Greene Naftali, New York

Tony Cokes \ Evil 35: Carlin / Owners, 2012 - Courtesy the artist and Greene Naftali, New York

 Tony Cokes \  Evil 35: Carlin / Owners,  2012 (still) - Courtesy the artist and Greene Naftali, New York

Tony Cokes \ Evil 35: Carlin / Owners, 2012 (still) - Courtesy the artist and Greene Naftali, New York

 Tony Cokes \  Evil 35: Carlin / Owners,  2012 (still) - Courtesy the artist and Greene Naftali, New York

Tony Cokes \ Evil 35: Carlin / Owners, 2012 (still) - Courtesy the artist and Greene Naftali, New York

By extracting source texts from their original contexts and layering elements that often clash, Cokes analyzes media’s operations and the ways in which they manifest power.
 Tony Cokes \  Black Celebration , 1988 - Courtesy the artist and Greene Naftali, New York

Tony Cokes \ Black Celebration, 1988 - Courtesy the artist and Greene Naftali, New York

The postmodern techniques and sources employed in Black Celebration had been present in Cokes’s early audio-visual work—which throughout the ’80s was shown in venues such as The Kitchen, Artists Space, the New Museum, and the Whitney Museum of American Art—and have filtered and mutated through his oeuvre in the ensuing thirty years.

 Tony Cokes \  Evil.16 (Torture.Musik) , 2009-2011 - Courtesy the artist and Greene Naftali, New York

Tony Cokes \ Evil.16 (Torture.Musik), 2009-2011 - Courtesy the artist and Greene Naftali, New York

 Tony Cokes\  Evil.16 (Torture.Musik) , 2009-2011 - Courtesy the artist and Greene Naftali, New York

Tony Cokes\ Evil.16 (Torture.Musik), 2009-2011 - Courtesy the artist and Greene Naftali, New York

 Tony Cokes \  Evil.16 (Torture.Musik) , 2009-2011 (still) - Courtesy the artist and Greene Naftali, New York

Tony Cokes \ Evil.16 (Torture.Musik), 2009-2011 (still) - Courtesy the artist and Greene Naftali, New York

 Tony Cokes \  Evil.16 (Torture.Musik) , 2009-2011 (still) - Courtesy the artist and Greene Naftali, New York

Tony Cokes \ Evil.16 (Torture.Musik), 2009-2011 (still) - Courtesy the artist and Greene Naftali, New York

 Tony Cokes \  Evil.27.Selma , 2011 - Courtesy the artist and Greene Naftali, New York

Tony Cokes \ Evil.27.Selma, 2011 - Courtesy the artist and Greene Naftali, New York

 Tony Cokes \  Evil.27.Selma , 2011 (still) - Courtesy the artist and Greene Naftali, New York

Tony Cokes \ Evil.27.Selma, 2011 (still) - Courtesy the artist and Greene Naftali, New York

 Tony Cokes \  Black September (Evil.2/3) , 2003 - Courtesy the artist and Greene Naftali, New York

Tony Cokes \ Black September (Evil.2/3), 2003 - Courtesy the artist and Greene Naftali, New York

Cokes proposes that a deconstruction of media is fundamental to liberatory politics, and he offers contemporary art as a space for experimentation as well as critiques of the regime of visibility.
 Tony Cokes \  Evil.27.Selma , 2011 (still) - Courtesy the artist and Greene Naftali, New York

Tony Cokes \ Evil.27.Selma, 2011 (still) - Courtesy the artist and Greene Naftali, New York

 

Images: Courtesy the artist and Greene Naftali, New York

Text: Greene Naftali press release

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