Chip Lord
Encyclopedia
Chip Lord is an American Digital Media artist currently teaching at UC Santa Cruz and residing in the Bay Area. He is best known for his work with the alternative architecture and media collective known as Ant Farm
, which he co-founded with Doug Michels in 1968. His work generally takes a satirical look at American myths and legends, they are often "nostalgic, but edged with an ironic detachment."
, New Orleans where he received his B.A. at The Tulane University School of Architecture in 1968. Lord entered college five years earlier, choosing New Orleans's Tulane because he wanted to leave Florida and major in architecture, the result of a boyhood passion for exploring houses under construction. Lord decided not to go the traditional route after graduation by joining an architecture firm for four years before being able to start his own firm. Doug Michels, who graduated Yale University in 1967, met Lord while on a college lecture tour during the previous year. Together, they founded the alternative architecture practice Ant Farm
, which was later expanded to include Hudson Marquez and Curtis Schreier.
Lord attributes his education in architecture as a strong foundation for digital art. The training in developing ideas, planning, placing them into action are all skills Lord places into his work, a way of organized thinking. Their inspiration drew upon specifically the events of the year 1968 and focused on the function of the generation and counter culture as a way to reinvent the society created by the generation before them.
. The year before Michels visited the University on his lecture tour and helped to incite a student rebellion at the School Of Architecture where they effectively ran the dean out of the school. One of the demands was that they bring Michels back to the school to lecture. Michels brought Lord along where they were able to work for a year.
After their stay at the University of Houston, the pair moved back to the Bay Area where they set up their alternative practice in a warehouse space in Sausalito.
The purpose of the Ant Farm was to propose a restructure of architecture education more involved with community opposed to the very rigid traditional way. The group was a self-described "art agency that promotes ideas that have no commercial potential, but which we think are important vehicles of cultural introspection."
This early period was marked by performance pieces and nomadic inflatable structures. Their work centered around the prospering environmental movement and mirrored the work of other projects like The Whole Earth Catalog
.
Their focus shifted in the early 1970s with the arrival of the Sony
Portapak
. Their work mirrored the efforts of other artistic groups like Videofreex
and TVTV
in an effort to democratize the medium of television. Lord states that the time was excited for them as artists, and as documentarians and community organizers.
The idea for Cadillac Ranch
came as an invitation from Stanley Marsh
. The Ant Farm Collective all grew up in the 1950s in America and were interested in the symbolic meaning of the Cadillac
. The car represented a combination of 1950s Americana and a symbol of aspirations. This was taken into consideration during the time of the project, in which the environmental movement was just blooming. The rise and fall of the tail-fin of the car in the piece were very important to Lord and the Ant Farm to symbolize the rise of the Cadillac in 1959, then its eventual fall with the new generation.
The Eternal Frame
was done in collaboration with another Bay Area, collective, T. R. Uthco (Diane Andrews Hall, Doug Hall, Jody Procter). This videotape, filmed at Dealey Plaze, Dallas, developed out of the groups' dynamic that shared an interest in executing the "forbidden idea". The actors involved rehearsed extensively to ensure verisimilitude, and when they performed the reenactment, it was executed with a striking attention to detail. The collectives had no permits for the piece, but were still able to get multiple takes of the performance. This piece can be seen as a commentary on the pervasive media culture in America, as it explores how the Kennedy assassination itself became a new type of media event. The video was restored in 2003 at BAVC under the direction of Doug Hall (T. R. Uthco) and Chip Lord (Ant Farm)which was necessary considering the frame by frame correction that was needed.
The group disbanded in 1978 after a fire destroyed their warehouse space at Pier 40 in San Francisco, where their practice had moved in 1973.
"The post-Ant Farm period was a difficult transition for me because of the loss of the support structure that the group provided, both creatively and financially, but this eventually led me to teaching. I thought that maybe teaching would be a similar collaborative process, and in some ways it is. Since I'm still doing it 25 years later, I have to say that university affiliation has worked for me."
in 1981 after UCSD wanted to add a position in "video art." After working there on and off for nearly 3 years, he was hired as a full time professor. Dissatisfied with the town, Lord left San Diego and decided to try out a teaching position at University of California, Santa Cruz
for a year. Lord worked in the Theatre Arts department working with students and various film projects and cites the willingness of the students at UCSC to explore new ideas as a reason for staying with the University. Once the Film and Digital Media department was created in Santa Cruz, Lord began teaching various studio and theory classes in the medium. Eventually, Lord became the chair of the department, and still teaches classes such as screenwriting, experimental video, and found footage.
In teaching experimental film and video, Lord focuses on using the first decade of video art as a model to talk about shifting the process of how work is conceived and made.
In teaching found footage, Lord screens numerous examples of the medium from his own personal work to that of Bruce Conner
. The students make various projects, including an appropriation and recontextualization of footage from Hollywood and television. Another project requires students to use found footage to create a central theme such as time (and temporality), art that helps the economy, intervention on the status quo, desire, and darkness.
Lord has also participated in lectures at the Museum of Modern Art
(MoMA) in New York City, Yale University, the USC Art Dept., S.F. Museum of Art, and the Princeton School of Architecture, among others.
As of Spring 2010, Lord will be retiring from his teaching career and plans on continuing his work in film and digital media.
-A survey of Lord's single-channel video works was held at the Museo Nacional Centro de Arte Reina Sofia in Madrid in March 2005.
-Movie Map, 2003, 9:30. Shown at the Rena Bransten Gallery in San Francisco in 2003. For the gallery installation it included a series of photographic diptychs of movie theaters, shown in the same gallery with the video on a flat screen. The video version intercuts footage from Vertigo and Bullitt to construct a fictional geography of San Francisco and the sense that the two automotive pursuits are happening at the same time.
-El Zocalo, 2002, 28:00 - An observational documentary shot in Mexico city in August 2001. The video presents daily live in Mexico City's central plaza, beginning and ending with a dream.
-Get Ready to March, 1981, 2:00. Part of the Global Perspectives on War and Peace Collection. Color video. A short video critical of Ronald Reagan's focus on military parades at the expense of the arts.
-[Conversations with Hiro Nagakubo], 1991, 23:00. Nagukabo finishes a phone conversation, then talks about Japanese appropriation of the American 1950s. Nagukabo says that the Japanese 1950s were so poor that the American 1950s were the Japanese dream. Someone suggests that the 1950s in America were focused on consumerism and productivity, which explains the reason why a technologically industrializing Japan would appreciate the American 1950s.
-Cars and Owners, 1978, 20:00. Black and white video (part of an ongoing still photo and video series). Chip Lord interviews Skip Blumberg about his new 1978 Plymouth Valiant. Skip: "I like this car because it looks very normal and regular...I don't care too much for cars, really...As long as it works and I don't hate it, it's fine." He talks about how he decided to buy the car and has us listen to the engine. At the end, he has us look in the trunk - "You know what I keep around here - my real set of wheels!" and rolls away on his rollerskates.
-Awakening from the 20th Century, 1999, 35:00 video essay.
-Mapping a City of Fragments v.2, 1997, 9:30. Uses a repetitive structure of short sequences and is designed to reward the viewer who stays to watch what at first appear to be repetitions, but on closer inspection turn out to be accumulating information.
-The Aroma of Enchantment, 1992, 55:00, video essay.
-Fashion Zone, 1993, video installation.
-Easy Living (with Mickey McGowan), 1984, experimental narrative.
-Not Top Gun, 1985 - A video essay produced for Paper Tiger Television deconstructing the film Top Gun
and its reception.
-El Centro del Mundo, 2005, interactive DVD.
-Motorist, 1989, 70:00, feature length narrative. A "road video" homage to the car culture of the 1950s and '60s; Easy Living (1984) is a miniaturized simulation of suburbia. Lord sardonically scrutinizes pop culture by adopting and subverting television strategies and formats — the commercial, the sit-com, the news bite. Often casting himself as a performer, he critiques the absurdities of contemporary politics and the military, and wryly observes the passivity of an American public conditioned by television.
-El Livahpla, 2000, ALPHAVILLE spelled backwards.
-Ant Farm Video, DVD compilation, 2003.
Ant Farm (group)
Ant Farm was an avant-garde architecture, graphic arts, and environmental design practice, founded in San Francisco in 1968 by Chip Lord and Doug Michels.-The group:...
, which he co-founded with Doug Michels in 1968. His work generally takes a satirical look at American myths and legends, they are often "nostalgic, but edged with an ironic detachment."
Background
Born in 1944, Lord graduated from Tulane UniversityTulane University
Tulane University is a private, nonsectarian research university located in New Orleans, Louisiana, United States...
, New Orleans where he received his B.A. at The Tulane University School of Architecture in 1968. Lord entered college five years earlier, choosing New Orleans's Tulane because he wanted to leave Florida and major in architecture, the result of a boyhood passion for exploring houses under construction. Lord decided not to go the traditional route after graduation by joining an architecture firm for four years before being able to start his own firm. Doug Michels, who graduated Yale University in 1967, met Lord while on a college lecture tour during the previous year. Together, they founded the alternative architecture practice Ant Farm
Ant Farm (group)
Ant Farm was an avant-garde architecture, graphic arts, and environmental design practice, founded in San Francisco in 1968 by Chip Lord and Doug Michels.-The group:...
, which was later expanded to include Hudson Marquez and Curtis Schreier.
Lord attributes his education in architecture as a strong foundation for digital art. The training in developing ideas, planning, placing them into action are all skills Lord places into his work, a way of organized thinking. Their inspiration drew upon specifically the events of the year 1968 and focused on the function of the generation and counter culture as a way to reinvent the society created by the generation before them.
Involvement with Ant Farm (1968-1978)
After graduation, Doug Michels was invited to teach at the University of HoustonUniversity of Houston
The University of Houston is a state research university, and is the flagship institution of the University of Houston System. Founded in 1927, it is Texas's third-largest university with nearly 40,000 students. Its campus spans 667 acres in southeast Houston, and was known as University of...
. The year before Michels visited the University on his lecture tour and helped to incite a student rebellion at the School Of Architecture where they effectively ran the dean out of the school. One of the demands was that they bring Michels back to the school to lecture. Michels brought Lord along where they were able to work for a year.
After their stay at the University of Houston, the pair moved back to the Bay Area where they set up their alternative practice in a warehouse space in Sausalito.
The purpose of the Ant Farm was to propose a restructure of architecture education more involved with community opposed to the very rigid traditional way. The group was a self-described "art agency that promotes ideas that have no commercial potential, but which we think are important vehicles of cultural introspection."
This early period was marked by performance pieces and nomadic inflatable structures. Their work centered around the prospering environmental movement and mirrored the work of other projects like The Whole Earth Catalog
Whole Earth Catalog
The Whole Earth Catalog was an American counterculture catalog published by Stewart Brand between 1968 and 1972, and occasionally thereafter, until 1998...
.
Their focus shifted in the early 1970s with the arrival of the Sony
Sony
, commonly referred to as Sony, is a Japanese multinational conglomerate corporation headquartered in Minato, Tokyo, Japan and the world's fifth largest media conglomerate measured by revenues....
Portapak
Portapak
A Portapak is a battery powered self-contained video tape analog recording system that can be carried by one person. Earlier television cameras were large and relatively immovable, but the Portapak made it possible to record television images while moving around...
. Their work mirrored the efforts of other artistic groups like Videofreex
Videofreex
The Videofreex were a pioneering video collective who used the Sony Portapak for countercultural video projects from 1969 to 1978. They were founded in 1969 by David Cort, Curtis Ratcliff and Parry Teasdale, after Cort and Teasdale met each other at the Woodstock Music Festival...
and TVTV
TVTV
TVTV was a San Francisco-based pioneering video collective founded in 1972 by Allen Rucker, Michael Shamberg, Tom Weinberg, Hudson Marquez and Megan Williams. Shamberg was author of the 1971 "do-it-yourself" video production manual Guerrilla Television. Over the years, more than thirty "guerrilla...
in an effort to democratize the medium of television. Lord states that the time was excited for them as artists, and as documentarians and community organizers.
The idea for Cadillac Ranch
Cadillac Ranch
Cadillac Ranch is a public art installation and sculpture in Amarillo, Texas, U.S. It was created in 1974 by Chip Lord, Hudson Marquez and Doug Michels, who were a part of the art group Ant Farm, and it consists of what were either older running used or junk Cadillac automobiles, representing a...
came as an invitation from Stanley Marsh
Stanley Marsh
Stanley Marsh may refer to:*Stan Marsh, one of the main characters in the American television series, South Park*Stanley Marsh 3, the supporter of the Cadillac Ranch roadside attraction in Amarillo, Texas, U.S.A....
. The Ant Farm Collective all grew up in the 1950s in America and were interested in the symbolic meaning of the Cadillac
Cadillac
Cadillac is an American luxury vehicle marque owned by General Motors . Cadillac vehicles are sold in over 50 countries and territories, but mostly in North America. Cadillac is currently the second oldest American automobile manufacturer behind fellow GM marque Buick and is among the oldest...
. The car represented a combination of 1950s Americana and a symbol of aspirations. This was taken into consideration during the time of the project, in which the environmental movement was just blooming. The rise and fall of the tail-fin of the car in the piece were very important to Lord and the Ant Farm to symbolize the rise of the Cadillac in 1959, then its eventual fall with the new generation.
The Eternal Frame
The Eternal Frame
"The Eternal Frame" is a video piece documenting the reenactment of the John F. Kennedy assassination in Dealey Plaza in a collaboration between two San Francisco-based artist collectives: T.R. Uthco and Ant Farm...
was done in collaboration with another Bay Area, collective, T. R. Uthco (Diane Andrews Hall, Doug Hall, Jody Procter). This videotape, filmed at Dealey Plaze, Dallas, developed out of the groups' dynamic that shared an interest in executing the "forbidden idea". The actors involved rehearsed extensively to ensure verisimilitude, and when they performed the reenactment, it was executed with a striking attention to detail. The collectives had no permits for the piece, but were still able to get multiple takes of the performance. This piece can be seen as a commentary on the pervasive media culture in America, as it explores how the Kennedy assassination itself became a new type of media event. The video was restored in 2003 at BAVC under the direction of Doug Hall (T. R. Uthco) and Chip Lord (Ant Farm)which was necessary considering the frame by frame correction that was needed.
The group disbanded in 1978 after a fire destroyed their warehouse space at Pier 40 in San Francisco, where their practice had moved in 1973.
Post Ant Farm
Lord describes the end of the Ant Farm collective similar to that of a rock band breaking up. It was time for each artist to make their own path. Lord tried his hand at photography and freelance journalism, but missed the collectivity that came from working with the Ant Farm. Lord then discovered a passion for teaching."The post-Ant Farm period was a difficult transition for me because of the loss of the support structure that the group provided, both creatively and financially, but this eventually led me to teaching. I thought that maybe teaching would be a similar collaborative process, and in some ways it is. Since I'm still doing it 25 years later, I have to say that university affiliation has worked for me."
Teaching
Lord found the collectivity he was looking for in teaching. He became a professor in the Arts department at University of California, San DiegoUniversity of California, San Diego
The University of California, San Diego, commonly known as UCSD or UC San Diego, is a public research university located in the La Jolla neighborhood of San Diego, California, United States...
in 1981 after UCSD wanted to add a position in "video art." After working there on and off for nearly 3 years, he was hired as a full time professor. Dissatisfied with the town, Lord left San Diego and decided to try out a teaching position at University of California, Santa Cruz
University of California, Santa Cruz
The University of California, Santa Cruz, also known as UC Santa Cruz or UCSC, is a public, collegiate university; one of ten campuses in the University of California...
for a year. Lord worked in the Theatre Arts department working with students and various film projects and cites the willingness of the students at UCSC to explore new ideas as a reason for staying with the University. Once the Film and Digital Media department was created in Santa Cruz, Lord began teaching various studio and theory classes in the medium. Eventually, Lord became the chair of the department, and still teaches classes such as screenwriting, experimental video, and found footage.
In teaching experimental film and video, Lord focuses on using the first decade of video art as a model to talk about shifting the process of how work is conceived and made.
In teaching found footage, Lord screens numerous examples of the medium from his own personal work to that of Bruce Conner
Bruce Conner
Bruce Conner was an American artist renowned for his work in assemblage, film, drawing, sculpture, painting, collage, and photography, among other disciplines.-Early life:...
. The students make various projects, including an appropriation and recontextualization of footage from Hollywood and television. Another project requires students to use found footage to create a central theme such as time (and temporality), art that helps the economy, intervention on the status quo, desire, and darkness.
Lord has also participated in lectures at the Museum of Modern Art
Museum of Modern Art
The Museum of Modern Art is an art museum in Midtown Manhattan in New York City, on 53rd Street, between Fifth and Sixth Avenues. It has been important in developing and collecting modernist art, and is often identified as the most influential museum of modern art in the world...
(MoMA) in New York City, Yale University, the USC Art Dept., S.F. Museum of Art, and the Princeton School of Architecture, among others.
As of Spring 2010, Lord will be retiring from his teaching career and plans on continuing his work in film and digital media.
Works
Lords has made pieces for both sitting audiences and video installations with multiple screens. Lord demonstrates interest in how different forms of representational media work function, especially still photographs made on film negatives and video, and he intentionally contrast them in his projects.-A survey of Lord's single-channel video works was held at the Museo Nacional Centro de Arte Reina Sofia in Madrid in March 2005.
-Movie Map, 2003, 9:30. Shown at the Rena Bransten Gallery in San Francisco in 2003. For the gallery installation it included a series of photographic diptychs of movie theaters, shown in the same gallery with the video on a flat screen. The video version intercuts footage from Vertigo and Bullitt to construct a fictional geography of San Francisco and the sense that the two automotive pursuits are happening at the same time.
-El Zocalo, 2002, 28:00 - An observational documentary shot in Mexico city in August 2001. The video presents daily live in Mexico City's central plaza, beginning and ending with a dream.
-Get Ready to March, 1981, 2:00. Part of the Global Perspectives on War and Peace Collection. Color video. A short video critical of Ronald Reagan's focus on military parades at the expense of the arts.
-[Conversations with Hiro Nagakubo], 1991, 23:00. Nagukabo finishes a phone conversation, then talks about Japanese appropriation of the American 1950s. Nagukabo says that the Japanese 1950s were so poor that the American 1950s were the Japanese dream. Someone suggests that the 1950s in America were focused on consumerism and productivity, which explains the reason why a technologically industrializing Japan would appreciate the American 1950s.
-Cars and Owners, 1978, 20:00. Black and white video (part of an ongoing still photo and video series). Chip Lord interviews Skip Blumberg about his new 1978 Plymouth Valiant. Skip: "I like this car because it looks very normal and regular...I don't care too much for cars, really...As long as it works and I don't hate it, it's fine." He talks about how he decided to buy the car and has us listen to the engine. At the end, he has us look in the trunk - "You know what I keep around here - my real set of wheels!" and rolls away on his rollerskates.
-Awakening from the 20th Century, 1999, 35:00 video essay.
-Mapping a City of Fragments v.2, 1997, 9:30. Uses a repetitive structure of short sequences and is designed to reward the viewer who stays to watch what at first appear to be repetitions, but on closer inspection turn out to be accumulating information.
-The Aroma of Enchantment, 1992, 55:00, video essay.
-Fashion Zone, 1993, video installation.
-Easy Living (with Mickey McGowan), 1984, experimental narrative.
-Not Top Gun, 1985 - A video essay produced for Paper Tiger Television deconstructing the film Top Gun
Top Gun
Top Gun may refer to:* Top Gun is a 1986 film starring Tom Cruise.**Top Gun , soundtrack to the movie**Top Gun , a number of games based on the movie...
and its reception.
-El Centro del Mundo, 2005, interactive DVD.
-Motorist, 1989, 70:00, feature length narrative. A "road video" homage to the car culture of the 1950s and '60s; Easy Living (1984) is a miniaturized simulation of suburbia. Lord sardonically scrutinizes pop culture by adopting and subverting television strategies and formats — the commercial, the sit-com, the news bite. Often casting himself as a performer, he critiques the absurdities of contemporary politics and the military, and wryly observes the passivity of an American public conditioned by television.
-El Livahpla, 2000, ALPHAVILLE spelled backwards.
-Ant Farm Video, DVD compilation, 2003.