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	The Seattle Times: Seattle's new library
		Video projections by Tony Oursler haunt the interior of the escalator wall between the third and fifth levels of the new downtown library.
		Oursler's "Commu" video sculptures are in the walls of the escalator between levels five and three.
		Both Oursler (of New York) and Hill (based in Seattle) are known for their high-tech approach to art, suitable to a digitally advanced library with an army of computers for online research.
	seattletimes.nwsource.com /news/local/library/stories/artinstallations.html (1072 words)

	Valley Advocate: In Your Face (Site not responding. Last check: 2007-11-03)
		Oursler just wants your attention -- and he wants it for more than one and a half seconds, the average amount of time he believes a museum patron spends in front of a single work of art before moving on to the next.
		Oursler, careful to include this information in the text accompanying another MPD-influenced work, comes down on the side of theorists who believe MPD is media-generated.
		Oursler himself was highly involved in on-site installation with curator Deborah Rothschild; a special construction company was hired to transform the gallery space.
	old.valleyadvocate.com /articles/inyourface.html (2509 words)

	De Pont foundation \| Collection - Tony Oursler (Site not responding. Last check: 2007-11-03)
		Tony Oursler is considered to be one of today’s most prominent younger video artists.
		Oursler places his dolls, which can be very small but also life-sized, in a variety of stances and situations.
		Because the projection is usually directed at the head of the figure in Oursler’s installations, the body, which is made of rags or old clothing, remains lifeless.
	www.depont.nl /en/collectie/j_r/oursler/to_i.htm (396 words)

	Tony Oursler \| City Gallery Wellington \| Te Whare Toi (Site not responding. Last check: 2007-11-03)
		Oursler has a particular fascination with the human body; his best-known pieces include video projections onto cloth dummies and a series of hanging fibreglass globes, onto which are screened close-ups of human eyes blinking and crying.
		Oursler combines his acute representations of essential emotional life with soundtracks that are assertive and insistent; consisting of taped dialogue or in other instances music provided Stephen Vitiello or the rock group Sonic Youth.
		Tony Oursler is accessible in its use of familiar subject and equipment that can be found in the average home, and also presents the viewer with a challenge to locate and interpret the many meanings in the work.
	www.city-gallery.org.nz /mainsite/TonyOursler.html (260 words)

	The Metropolitan Museum of Art - Special Exhibitions: Tony Oursler at the Met: "Studio" and "Climaxed" (Site not responding. Last check: 2007-11-03)
		"Tony Oursler's Studio is a stunning presentation for the Metropolitan's new Department of Nineteenth-Century, Modern and Contemporary Art, as Oursler is looking to the nineteenth century for inspiration for his thoroughly modern installation," commented Gary Tinterow, Engelhard Curator in Charge of the Metropolitan Museum's Department of Nineteenth-Century, Modern, and Contemporary Art.
		Oursler is represented in Studio by a laughing, glowing blob onto which a video of multiple eyes is projected.
		"Tony Oursler at the Met: 'Studio' and 'Climaxed,'" is organized by Gary Tinterow, Engelhard Curator in Charge, and Anne L. Strauss, assistant curator, both of the Metropolitan's Department of Nineteenth-Century, Modern, and Contemporary Art.
	www.metmuseum.org /special/Oursler/oursler_more.htm (625 words)

	SFMOMA \| Exhibitions \| Video (Site not responding. Last check: 2007-11-03)
		Tony Oursler's work explores themes of alienation and discomfort through the use of electronic images lifted from video monitors by means of a projection apparatus placed on various free-standing forms.
		Asphyxiation (1995), an installation from Oursler's "instant dummy" video series, is an apt metaphor for the human response of sensory paralysis to the information age's accelerated pace.
		By means of the audio track, the projected image of Oursler's face on compressed, wrinkled clothes utters sounds of discomfort such as choking and coughing.
	www.sfmoma.org /exhibitions/exhib_detail/98_exhib_nauman_oursler.html (368 words)

	Tony Oursler (Site not responding. Last check: 2007-11-03)
		Tony Oursler 1067875727 1067986800 San Francisco USA SFAI http://www.sfai-art.com sfaiinfo@sfai.edu 1067875727.jpg 1068073199 SFAI Lecture Hall Tony Oursler FALL LECTURE SERIES November 5, 2003 7:30 pm Tony Oursler has broken new ground in the world of video art by freeing the image from the cumbersome boundaries of the video monitor, conventional film screen and picture frame.
		Oursler's latest works are like strange creatures from a science fiction film or surrealist dream sequence.
		Tony Oursler has broken new ground in the world of video art by freeing the image from the cumbersome boundaries of the video monitor, conventional film screen and picture frame.
	www.undo.net /artinpress/1067986800.1067875727.html (578 words)

	:: Tony Oursler :: (Site not responding. Last check: 2007-11-03)
		In Tony Oursler's most recent video exhibition the audience is barraged by the presence of thirteen eyes, all staring vacantly out of white hollow orbs that cower in corners and hover at eye level around the darkened gallery.
		These recent, spellbound eyes are a departure from Oursler's previous talking head, video/figures that combined limp forms constructed of empty suits, or stuffed dolls with video projections of human faces beamed onto the figures.
		Oursler seems to be illustrating the split our egos have taken, unearthing the multiple personalities that have developed as the culture digests the identities of endless television characters.
	www.blixa6.com /ci/Oursler.html (479 words)

	Tony Oursler (Site not responding. Last check: 2007-11-03)
		The intelligent irony that resonates through the best-known body of work of the American artist Tony Oursler, namely, his video and projection installations, results from the subtle combination of sound, language, and pop culture images that suffuse it.
		"Tony Oursler" includes 180 illustrations from his video, sculpture, and mixed-media works on paper, as well as an extensive selection of the artist's own writings.
		Essays by Raymond Bellour, Tony Conrad, Constance DeJong and Tony Oursler.
	www.textkit.com /0_888158168X.html (186 words)

	Metro Pictures: Tony Oursler (Site not responding. Last check: 2007-11-03)
		Oursler's new sculptures are biomorphic forms in varying configurations and sizes, aglow with projected images of bulbous blinking rolling eyes and outsized mouths grimacing and pursing, while mumbling mawkish sentiments of self-pity and disenchantment or seductive attempts to woo the viewer.
		Tony Oursler had recent solo exhibitions at the Institut Valencià D'Art Modern in Valencia, Spain, the Museo D'Arte Contemporanea in Rome, Italy, and Magasin 3 in Stockholm, Sweden.
		Tony Oursler's work is represented in numerous museum collections including the Museum of Modern Art in New York, the Whitney Museum of American Art, and the Tate Gallery in London.
	www.artnet.com /ag/fineartthumbnails.asp?gid=744&cid=47943 (259 words)

	Tony Oursler, Blue Transmission (Site not responding. Last check: 2007-11-03)
		Tony Oursler, Blue Transmission 953501534 952729200 London Gran Bretagna Lisson Gallery http://www.lisson.co.uk/ 956267999 Lisson Gallery The Lisson Gallery is pleased to announce an exhibition of new works by Tony Oursler, Blue Transmission.
		Tony Oursler, Blue Transmission The Lisson Gallery is pleased to announce an exhibition of new works by Tony Oursler, Blue Transmission.
		Oursler's new show Blue Transmission will include a large scale installation of several video sculptures with subject matter ranging from camera obscura and redefining perspective, to good and evil - Oursler incorporates glass devils lit by video projections with images of good and evil overlapping and struggling against one another.
	www.undo.net /artinpress/952729200.953501534.html (487 words)

	Art in Context - Review
		In Tony Oursler's current exhibition at Metro Pictures, (his second since 1994), this window reflects our obsession with media and our vision of ourselves as flesh and blood.
		Oursler has explored the use of video projection in sculptural installation since 1981.
		Oursler uses technological parlor tricks, but in his hands they have power to trigger strong emotional responses.
	www.artincontext.org /reviews/1996/oursler.htm (312 words)

	The Campus Chronicle
		Oursler made a name for himself in the late 1990s by exhibiting work at places such as the Whitney Museum of American Art in New York City.
		"We felt Tony Oursler was essential for the gallery’s premiere exhibition, considering he is renowned for his pioneering efforts in video installation and projection," said Cunningham.
		Oursler’s work is conceptually difficult to take in but well worth the visit and time spent viewing.
	www.scad.edu /thechronicle/archive/vol_2/02_15/art.html (486 words)

	SOLID HANG dot com / Purveryor of Fine Media Projects (Site not responding. Last check: 2007-11-03)
		Oursler asking SOLID HANG to design his website we not only readily accepted but we were ecstatic.
		Oursler's career spells back some 35 years and as such it was a large task to employ a design that would incorporate images, video and text dating from 1977 to the present.
		Oursler's PAST section, one finds a timeline of his work that is accessible at a click of a button.
	www.solidhang.com /solidblog/www (616 words)

	Learning@Whitney: Gallery (Site not responding. Last check: 2007-11-03)
		Tony Oursler, born in New York in 1957, studied at the California Institute for the Arts.
		At school, Oursler was introduced to a new portable video recorder, the Sony Portapak, and began using it to explore video’s "fusion of two and three dimensional space," and how that fusion relates to physical space.
		Oursler has said that video is a meta-medium that can “approach the poetry of thought." In Underwater Head (1997), a face is projected onto a ceramic egg shape immersed in distilled water.
	www.whitney.org /learning/gallery/gallery_background.php?work=17 (266 words)

	Resources for Mystic (Site not responding. Last check: 2007-11-03)
		Oursler is best known for "talking head" videos that sprang to prominence in the 1990s, which most often seem to convey archetypal anxieties of the modern world.
		This book brings together Tony Oursler's most elaborate deep media projects in an illustrated time line, the "Timestream", and accompanying texts elaborate on the phantasmagorias of the late 18th century, its contemporary equivalents, and the influence of spiritualism within the general development of media.
		Oursler is known for his video work, but this show of acrylic works on paper suggested that his fascination with technology is tempered by a sort of latent technophobia.
	babel.massart.edu /~jfoote/mysticresources.html (3449 words)

	Ackland Online - Illuminations \| Tony Oursler
		Tony Oursler's recent video projections examine the effects on human psychology of our mass media-oriented society.
		After studying at the California Institute for the Arts, Oursler found video an appropriate medium in which to comment on television and the generation raised on it.
		For Oursler, the fragmentary nature of the piece -- the disembodied eye, the reflected television screen and the rapidly changing channels -- parallels features of mental illnesses that signal the disintegration of the personality and the inability of the individual to identify with and function in the real world.
	www.ackland.org /art/exhibitions/illuminations/image5.htm (324 words)

	Exhibiton 59; Tony Oursler
		The artist Tony Oursler (born 1957, lives and works in New York) has chosen the subject of mass media, represented here by allusions to cinema, television, and their relation to various psychological and social disorders.
		In walking around the installation, the exhibition visitor is forced into different mental and psychological roles: into emotional vibration, as physical object, as part of a group, and as voyeur or viewer and vice versa.
		Tony Oursler has produced many music videos, he participated in documenta IX, and he recently took part in Dan Graham's symposium "Rock/Raum" at Städelschule.
	www.portikus.de /ArchiveA0059.html (605 words)

	Online NewsHour: Whitney Biennial Exhibit--May 23, 1997
		PAUL SOLMAN: Oursler's part of the dialogue is subversive children's rhymes--an attempt to trigger the subversive child in the viewer.
		TONY OURSLER: These particular attacks are--they're not exactly childish--you know, they're actually kind of intense and violent, sexual, so that was kind of the idea with these heads--kind of detached heads in a way, kind of echoing to one another through time and space different variations on these--on these poems.
		TONY OURSLER: People spend two hours in a Hollywood movie that you could sum up in 10 seconds, so I think it's a matter of priorities and a different way of looking at time, really.
	www.pbs.org /newshour/bb/entertainment/may97/whitney_5-23.html (1763 words)

	Art in America: Optic nerve - video art, Tony Oursler, Metro Pictures, New York, New York - Cover Story
		Oursler's new installations continue to traffic in Surrealist weirdness, but they also move in a new direction.
		As part of a generation of artists that grew up on a steady diet of television, Oursler is keenly aware of the way that medium shapes our perception of the world.
		Oursler's pieces are little morality tales of postmodern life, emblems of control and complacency.
	www.findarticles.com /p/articles/mi_m1248/is_n6_v84/ai_18356710 (1416 words)

	washingtonpost.com: Style Live: Museums & Galleries
		n conversation, Tony Oursler frequently drops such weighty buzzwords as "sublingual" and "hypnagogic" – deadly serious artspeak that identifies the video artist as a member of Manhattan's bleeding-edge hipoisie.
		In what Oursler calls "a metaphor for the technological age," there can be seen a gradual separation of the head from the body as the torsos first lose limbs and then their entire bodies.
		It is a subtle and telling measure of the success of Oursler's work, but you should not be surprised when you find yourself inclining your ear not in the direction of the tiny video speakers, but ever so gently in the vicinity of Leipold's visible, but immaterial lips.
	www.washingtonpost.com /wp-srv/style/museums/onexhibit/videodolls.htm (882 words)

	www.thebalde.net
		Tony Oursler combines this pathology with the processes provoked by the mass media.
		Oursler analyses the behaviour of the viewer this way and proves to himself how some children are terrified of these “toys” whilst others speak to them and even seek them out for help.
		These are the gems that would later stare out of the sockets of a skull in “Skulls and still lives” (1998), a piece of art in which his passion for light is joined by another one of his fixations: death.
	www.thebalde.net /thb01/oursler.htm (1512 words)

	Guardian \| Tony Oursler / The Influence Machine
		An Artangel project, The Influence Machine by American artist Tony Oursler, is a series of video projections, a technological haunting in the park.
		Oursler's talking heads, intoning their vaguely existential Beckettian monologues, work well outdoors, weather permitting.
		The subject suits him, too: death, in Oursler's usually gallery-bound art, is but another form of loneliness, another occasion for aggressive mutterings.
	www.guardian.co.uk /print/0,3858,4087209-103686,00.html (383 words)

	david cohen on harry roseman at davis & langdale, stephan balkenhol at barbara gladstone, tony oursler at metro ...
		Tony Oursler is showing a couple of doors down from Gladstone, at Metro Pictures.
		Oursler's contribution to the world of forms is the "video effigy," a projection of faces onto abstract sculptural objects.
		Oursler's is the mannerism of an art-world moment.
	www.artcritical.com /DavidCohen/SUN3.htm (1024 words)

	Art in America: A history lesson - musical and visual artists Mike Kelly and Tony Oursler
		With a pair of touring exhibitions, Mike Kelley and Tony Oursler recently chronicled their 20-year collaboration in music and the visual arts.
		Although the ostensible subject of this project is Kelley and Oursler's early experiences as performers in a loose-knit musical group called the Poetics, its broader concerns are the processes by which history is constructed, and the reciprocal relationship between the fine arts and popular culture.
		In the stillness of the gallery's front room, viewers were surrounded by solarized, Warholian images of desert landscapes, palm trees, ocean and sea gulls, set in the company of the 'mmimalist pole and videos of sound wave patterns which recall Pollock's filaments of paint, and a restaged, snakelike performance by artist Robert Appleton.
	www.findarticles.com /p/articles/mi_m1248/is_n10_v86/ai_21250052 (1145 words)

	Public Art Fund: Target Art In the Park 2000: Tony Oursler
		Tony Oursler's The Influence Machine, installed at Madison Square Park, captured voices and images of ghosts, both contemporary and historical, creating a séance experience that recalled 19th-century sound and light projections.
		Oursler experimented with video, smoke machines, a variety of soundtracks, and several sculptural elements to explore the historical and current impact technologies have on our daily lives.
		Born in New York in 1957, Tony Oursler received his BFA degree from the California Institute of the Arts, Valencia, CA.
	www.publicartfund.org /pafweb/projects/00/target/target_oursler_t_00.html (326 words)

	ARKEN Museum of Modern Art
		Tony Oursler inquires with his art into how we increasingly experience the world through more or less advanced technology.
		The difference between the real and the constructed, in media like TV and photography, grows smaller and smaller because the media are based on verisimilitude and have a keen ability to provoke and imitate human emotion that we instantly respond to.
		"Tony Oursler, Introjection: Mid-Career Survey 1976—1999", Williams Coll.
	www.arken.dk /view.asp?ID=8831 (343 words)

	ELECTRA - CURRENT PROJECTS - PERFECT PARTNER (Site not responding. Last check: 2007-11-03)
		Gordon and Oursler’s shared fascination with the dream lifestyle promised by car manufacturers, and the aspirational language of car advert copy (selling cars as our ‘perfect partner’), provided the inspiration for this hugely inventive project.
		Tony Oursler was born in 1957 in New York, where he still lives and works.
		Tony Oursler's work in the mediums of video, sculpture, installation, performance and painting has been exhibited extensively in the U.S, Europe, and Japan, including Metro Pictures, New York; Portikus, Frankfurt and Documenta, Kassel.
	www.electra-productions.com /current/perfect_partner (1875 words)

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