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Tony Oursler

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Tony Oursler
Born1957(1957)
New York City
NationalityAmerican
EducationCalifornia Institute of the Arts,BFA(1979)
Known forVideo art,performance art,installation art

Tony Oursler(born 1957) is an American multimedia and installation artist married toJacqueline Humphries.He completed aBachelor of Fine Artsat theCalifornia Institute for the Arts,Valencia, California, in 1979. His art covers a range of mediums, working with video, sculpture, installation, performance, and painting. He lives and works in New York City.

Early life and education

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Born inManhattanin 1957, Oursler was brought up in a connected and well-to-do family that settled inNyack, New York.[1]He is the son of formerReader's Digesteditor-in-chief Fulton Oursler Jr. and Noel Nevill Oursler. His grandfather was the writerFulton Oursler.[2]

AtCalArts,his fellow students includedMike Kelley,Sue Williams,Stephen Prina,andJim Shaw.John Baldessari— with whom he did an independent study[3]— andLaurie Andersonwere his teachers.[1]Oursler moved back to New York in 1981[4]and was picked up byElectronic Arts Intermix.[1]

In 1999, Oursler moved to a studio nearNew York City Hall.[1]

Work

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Single-channel tapes: 1977–1989

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Tony Oursler is known for his fractured-narrative handmade videotapes, includingThe Loner(1980) andEVOL(1984). Billy Rubin describesEVOLas "(charting) the territory between our passion-charged personal narratives and the near impossibility of representing that desire visually or linguistically, the end result often being nothing more than banal cultural cliches."[5]

These works involve elaborate soundtracks, painted sets, stop-action animation, and optical special effects created by the artist. The early videotapes have been exhibited extensively in alternative spaces and museums. They are distributed byElectronic Arts Intermix.[6]

Early installations

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Oursler's early installation works are immersive dark-room environments with video, sound, and language mixed with colorful constructed sculptural elements. In these projects, Oursler experimented with methods of removing the moving image from the video monitor using reflections in water, mirrors, glass, and other devices.

The early installationSon of Oil,presented atMoMA PS1in 1982, links the dystopian feelings brought about by conspiracy theories with the perturbing politics of the oil industry.[7]

The large-scale installationL7-L5deals with science fiction as entertainment in contradiction to the terror of first-hand accounts of alien encounters. It was presented atThe Kitchen(New York) and theStedelijk Museum(Amsterdam) in 1984.[8]

Spillchamber(1987) andSpillchamber 2(1989) were displayed in New York and Japan.[9]

Projection: 1991

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Oursler began working with small LCD video projectors in 1991 in his installationThe Watchingpresented atdocumenta 9,featuring his first video doll and dummy. This work utilizes handmade soft cloth figures combined with expressive faces animated by video projection. Oursler then produced a series of installations that combined found objects and video projections.Judy(1993) explored the relationship between multiple personality disorder and mass media.Get Away IIfeatures a passive/aggressive projected figure wedged under a mattress that confronts the viewer with blunt, direct address. These installations led to great popular and critical acclaim.[10]

Signature works have been his talking lights, such asStreetlight(1997), his series of video sculptures of eyes with television screens reflected in the pupils, and ominous talking heads such asComposite Still Life(1999). An installation calledOptics(1999) examines the polarity between dark and light in the history of thecamera obscura.In his text "Time Stream", Oursler proposed that architecture and moving image installation have been forever linked by the camera obscura noting that cave dwellers observed the world as projections via peepholes. The essay both presents a timeline of mimetic technology and serves as an archive of some of Oursler's influences.[11]Oursler's interest in the ephemeral history of the virtual image led to large-scale public projects and permanent installations by 2000.[12]

Public projects: 2000–2009

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The Public Art Fund andArtangelcommissioned theInfluence Machinein 2000.[13]This installation marks the artist's first major outdoor project and thematically traced the development of successive communication devices from the telegraph to the personal computer as a means of speaking with the dead. Oursler used smoke, trees, and buildings as projection screens inMadison Square Park,NYC andSoho Square,London. He then completed several permanent public projects in Barcelona, New Zealand, and Arizona, including "Braincast" at theSeattle Public Library.

Million Colors(2006) was commissioned by the state of Arizona for permanent display at thePhoenix Convention Centerin downtown Phoenix, Arizona.[14]While researching this project, Oursler discovered that locals boast that the canyons and desert are graded in more than a million different colors. Aurora sightings and surrounding mountains evoke the lawless and anarchic past of American culture: abandoned goldmines and violent desperadoes of the Wild West. Near Suspicion Mountain, where temperatures reach 110 °F (43 °C), mirages are everyday occurrences. These distinct visual elements generate vivid accounts of UFO sightings and industrial-military conspiracy theories. Oursler steeped himself in the allure of the place and tried to give voice to the arid desert landscape. Narratives unique to the mysterious desert are reflected in the spoken texts of the installation, and the resulting collage of scripts performed by Arizona locals and immigrants is an attempt to let the colorful sedimentary history speak for itself.[15]

In 2009, he created a series of commissioned video installations at theFrank Sinatra School of the Artsin Astoria, New York.[16]

Tony Oursler:Monsters, Tony Oursler & éditions Take5

Public projects: 2010–2020

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In 2013, theEkebergparken Sculpture Parkcommissioned Oursler to create the permanent installationKlang.[17]The installation took the form of three parts:Klang,a large-scale video cave,Spectral Power,an iconic talking lamppost, andCognitive / Dissonance,two complementary tree projections.[18]

In 2014, Oursler simultaneously presented two large-scale installations in the Netherlands:X ergo Yat theStedelijk MuseumandI/O underflowat theOude Kerk.[19]

I/O underflowwas inspired in part by Alan Turing.[20]

Tear of the Cloud,commissioned byPublic Art Fundand curated byDaniel S. Palmer,was presented at Riverside Park along the banks of the Hudson River in the summer of 2018. Technological developments in the region provided significant source material for the artist. The structure of the Internet, which blurs the boundary between culture and technology, is evident in the production of millions of bricks inHaverstraw, New York,and the long-distance communication of the talking drum as a precursor to the invention ofMorse code.The artist explores the composition ofSamuel Morse's last painting,The Muse,depicting his daughter Susan Walker Morse, uncannily foreshadowing the prototype of his first telegraph. 'The Headless Horsemanand his horse are important references inTear of the Cloud,as they gallop towards artificial intelligence, the chess-playing computerDeep Blue's famous knight sacrifice,facial recognitiontechnologies, and bots which have provoked significant questions about our future', according to Oursler. He suggests connections between the recent DNA CRISPR-Cas encoding ofMuybridge'sHorse in Motion,the birth of the film industry at the Black Maria studio, the actress and proto-feministPearl White’s early silent films created on the Palisades, and the first transistor invented a few miles away atBell Labs.Mining progressive social movements, the work touches on the mid-19th centuryOneida community,their attempts at free love and highly successful manufacturing of silverware and animal traps; theSeneca Falls Convention;counterculture musical and psychedelic experimentation at Woodstock; and the remixing of nascent hip-hop culture in the South Bronx. The river is also characterized by darker connotations including pesticides,PCBs,Indian Point Nuclear Power Plant, and Sybil’s Cave, where the infamousMary Rogersmurder occurred. Oursler will bring these images – and more – to life, through the meticulously produced digital projections that evoke the scenarios with kaleidoscopic wonder ", according toLehmann Maupin.[21]Oursler gave a talk on the piece at the New School, presented by the Public Art Fund.[22]The piece was accompanied by a digitally published glossary of references. "[23]

6th,commissioned by theMuseum of Old and New ArtandDark Mofo,was presented in the summer of 2019 at the now-defunctBeaumaris ZooinHobart, Tasmania.The piece revisited the structure which once held the last living Tasmanian tiger, and projected images into cages to "bear witness to a 'digital de-extinction' of the legendary Tasmanian tiger via sweeping projections, sound and light", as described by Dark Mofo.[24]Concurrently, the nocturnal installationBeyond the Spectrumwas presented at theRoyal Tasmanian Botanical Gardens,which houses rare botanical specimens. The installation of 30 talking lights installed throughout the park were culled from the artist’s archive of more than 20 years of experimentation with the synchronization of light and sound. For this project, the lights were paired with specific plant species throughout the park to be discovered by the wandering viewer.

Also in 2019, Oursler presentedEclipseat theFondation Cartierin Paris, for the exhibitionTrees.[25]The piece incorporates ecological themes and the looming loss of the "enchanted forest".

Điện lưu (Current)(2019) is an installation piece spanning the Nanjing Eye Footbridge, a pedestrian walkway over the river.[26]

Collaborations

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While atCalifornia Institute of the Arts,Oursler founded the musical and performance group "Poetics" alongside fellow studentMike Kelley.[27]The group included many collaborators over the years, such as John Miller, Jim Shaw, Mitchell Syrop, Bill Stobaugh, Don Kruger, Mark Madel, Art Byington, Dave Muller, Steven Vitiello, Bill Wintersole, Zoe Pettijohn, and Linda Post. In 1997–98, Kelley and Oursler presented the Poetics Project atDocumenta X,as well as at venues in Los Angeles, New York, and Tokyo; through video projections, sound, and artworks, this installation re-created their experience at CalArts as members of a short-lived band.[28]The installation is now on semi-permanent display in the collection of the Pompidou Centre.

Oursler was a longtime friend ofDavid Bowieand collaborated with him on several works.[29][30]Oursler created the background videos that played atDavid Bowie's50th birthday party concert[31]in 1997. In 2000, Oursler and Bowie collaborated on the four-minute short filmEmpty,in which Bowie's disembodied head provided narration.[32]Oursler made the video to accompany Bowie's January 2013 single "Where Are We Now?",[33]and a piece showing two Bowie heads in conversation with each other for the 2013 "David Bowie Is"exhibit organized by theVictoria and Albert Museum.[34]

Oursler became friends with writer and artistConstance DeJongafter he saw a performance of hers at theMinneapolis College of Art and Designin 1983. In 1986, they collaborated onJoyride.[35]They then collaborated on the video and performance pieceRelatives,first staged at The Kitchen in New York City in 1989. In 1995, DeJong and Oursler collaborated alongside musician Stephen Vitiello for their piece, "Fantastic Prayers."[36]A CD-ROM of the project was released by Dia in 2000. DeJong is featured inThe Watching,which was the first of Oursler's works to project videos onto dolls, and was presented at documenta 9. She performs as Madame X in Oursler's feature-length filmImponderable',presented at MoMa in 2016. The two have collaborated on numerous other occasions over the years.

Oursler has long collaborated with former MIT professor, filmmaker, artist, and bank robber Joe Gibbons. The two met in 1984 and went on to share a house in Jamaica Plain, Mass. while Oursler taught at the Massachusetts College of Art. In the late 1980s through the early ‘90s, Oursler and Gibbons produced a series of videos titledOn Our Own.[37]Oursler appears in Gibbons’ feature filmThe Genius,alongside Karen Finley and Tony Conrad.[38]

Oursler's lifelong friendship and creative partnership withTony Conradbegan in 1980. Oursler introduced Mike Kelley to Tony Conrad, and the two appeared in Conrad's filmBeholden to Victory (Hail the Fallen).[39]Oursler and Kelley also appear in Conrad's later filmWiP (Women in Prison).Conrad appears in and did the costuming for Oursler's filmEVOL.One of Oursler and Conrad's major collaborations wasThe Influence Machine,a public installation shown at Madison Square Garden in 2000, for which Conrad composed the score.[40]Oursler and Conrad's soundtrack was also published as a CD accompanying the catalogue forThe Influence Machine.Conrad is featured in several of Oursler's projection works. The pair's final collaboration wasTC: the most interesting man alive,presented at Lisson Gallery.[41]Conrad died on April 9, 2016. Oursler is the director of Tony Conrad's archives.

Oursler metKim Gordonin the late 1970s and collaborated with her onMaking the Nature Scene,a short film examining New York club culture in the 1980s. In 1990, Oursler made the music video forSonic Youth's song "Tunic (Song for Karen)." In 2005, Oursler collaborated with Sonic Youth and filmmaker Phil Morrison on the piecePerfect Partner.[42]Gordon is featured in several of Oursler's works and contributed to the soundtrack material for Oursler's 2018Tear of the Cloud,a site-specific multimedia installation along the banks of the Hudson River.

Film and video

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See videos Electronic Arts Intermix[43]

  • "Tony Oursler Video Projections" by Tony Oursler, Inner-Tube Videos. 2002, 27 minutes, Color. NY: Inner-Tube Videos.

Exhibitions

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Oursler's work has been exhibited in public institutions including theWalker Art Center,Minneapolis;documenta VIII,IX, Kassel;Museum of Modern Art, New York;theCentre Georges Pompidou,Paris; theD.O.P. Foundation,Caracas; theCarnegie Museum of Art,Pittsburgh;Skulptur Projekte Münster;Museum Ludwig,Cologne;theHirshhorn Museum,Washington, DC; the Tate,Liverpool."Introjection", the artist's mid-career survey, was on view from 1999 to 2001 at theWilliams College Museum of Artin Massachusetts, theContemporary Arts Museumin Houston, theMuseum of Contemporary Art, Los Angeles,and theDes Moines Art Center,Iowa. In 2000, Ourlser's installationThe Darkest Color Infinitely Amplifiedwas presented at theWhitney Museum of American Artand theTate Modern.[44]Oursler's work was included inGlasstressat the54th Venice Biennale(2011).[45]

2010

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From October–December 2010, the Lehmann Maupin Gallery hosted Oursler's exhibition entitledPeak.[45]The exhibition was timed with Oursler's Valley, the inaugural exhibition of theAdobe Museum of Digital Media.

Publications

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In 2015, Oursler publishedImponderable: The Archives of Tony Oursler[46]with theLUMA Foundation.

Oursler was profiled by the magazineMen's Voguein 2007. Writer Dan Halpern went with him to New Zealand, where he was finishing a massive projection-based installation piece on the private sculpture park of billionaireAlan Gibbs.[47]

His monographs are as follows:

1985

Oursler, Tony.Spheres d’Influence.Paris, France: Centre Georges Pompidou, 1985. Cassette included.

1995

Oursler, Tony.Tony Oursler: Recent Works 1995-96.Madrid, Spain: Galeria Soledad Lorenzo, 1995.

Oursler, Tony.Dummies, Clouds, Organs, Flowers, Watercolors, Videotapes, Alters, Performances and Dolls.Frankfurt, Germany: Portikus. 1995.

1997

Oursler, Tony.My Drawings 1976-1996.Kassel, Germany: Kasseler Kunstverein, 1997.

1998

Oursler, Tony.Tony Oursler.Madrid, Spain: Galeria Soledad Lorenzo, 1998.

Oursler, Tony.Videotapes, Dummies, Drawings, Photographs, Viruses, Light, Heads, Eyes, and CD-ROM.Hannover, Germany: Kunstverein Hannover, 1998.

1999

Oursler, Tony.Tony Oursler.Warsaw, Poland: Center for Contemporary Art Ujazdowski Castle, 1999.

Oursler, Tony.Tony Oursler.Milan, Italy: Electa. 1999.

2000

Oursler, Tony.The Influence Machine.London: Artangel; New York: Public Art Fund, 2000.

Rothschild, Deborah and Tony Oursler.Tony Oursler Introjection: Mid-career survey 1976-1999.Williamstown: Williams College Museum of Art, 2000.

2001

Janus, Elizabeth and Gloria Moore.Tony Oursler.Barcelona, Spain: Ediciones Poligrafa, 2001.

Oursler, Tony.Tony Oursler.Barcelona, Spain: Ediciones Polígrafia; Valencia, Spain: Instituto Valenciano de Arte Moderno, 2001.

2002

Oursler, Tony.Tony Oursler.Rome, Italy: Macro; Milan, Italy: Electa, 2002.

Oursler, Tony.Parallel Lines: Drawings, Photos, Videos.Torino, Italy: In Arco, 2002.

Oursler, Tony.Station.Stockholm, Sweden: Magasin 3 Stockholm Konsthall, 2002.

2003

De Jong, Constance, Tony Oursler and Michael Zansky.De Jong Oursler Zansky, Installations.Rockland: Rockland Center for the Arts, 2003.

2004

Courbet, Gustav and Tony Oursler.Correspondances Musée D’Orsay, Art Contemporain No. 2.Paris, France: Musée D’Orsay; Paris, France: Hazan Editions, 2004.

Oursler, Tony.Blob.Madrid, Spain: Galeria Soledad Lorenzo, 2004.

2005

Oursler, Tony.Tony Oursler: Dispositifs.Paris, France: Flammarion; Jeu de paume, 2005.

Oursler, Tony.Tony Oursler: Dispositivos.Paris, France: Flammarion; Jeu de Paume, 2005.

2006

Amy, Michaël and Tony Oursler.One to One: Conversation Avec Tony Oursler.Brussels, Belgium: Facteur Humain, 2006.

Oursler, Tony.Blue Invasion.Sydney, Australia: Sydney Festival, 2006.

Paparoni, Demetrio.The Living Eye of Tony Oursler and the Spirit of the Age.Torino, Italy: In Arco Books, 2006.

2007

Oursler, Tony.Recent Works.Helsinki, Finland: Galerie Forsblom, 2007.

2008

Oursler, Tony.Trunk Mask Bomb Frame Hatchet Crutch Queen.Madrid, Spain: Galeria Soledad Lorenzo, 2008.

Oursler, Tony.Mirada Pensante/ Thinking Machine.Madrid, Spain: Turner Books, 2008.

Oursler, Tony.High.London, England: Lisson Gallery, 2008.

2009

Oursler, Tony.Cell Phones Diagrams Cigarettes Searches and Scratch Cards.New York: Metro Pictures, 2009.

Oursler, Tony.Gaze Heuristic (With Drool).Torino, Italy: In Arco Books, 2009.

2010

Oursler, Tony.Lock 2,4,6.Bregenz, Austria: Kunsthaus Bregenz, 2010.

2011

Mercurio, Gianni,Demetrio Paparoniand Tony Oursler.Tony Oursler: Open Obscura.Milan, Italy: 24 ORE Cultura, 2011.

Oursler, Tony.Projetor.Rio de Janeiro, Brazil: Automatica, 2011.

2012

Oursler, Tony.Denouement.Verona, Italy: Fama Gallery, 2012.

Oursler, Tony.Face to Face.Aarhus, Denmark: ARoS Aarhus Kunstmuseum, 2012.

2013

Gielen, Denis and Tony Oursler.Vox Vernacular: An Anthology.Brussels: Mercatorfonds; MAC's/Grand-Hornu, 2013.

Molmenti, Pompeo Marino and Tony Oursler.Where Should Othello Go?Paris, France: Louis Vuitton Malletier, 2013.

2015

Oursler, Tony.I/O underflow.Amsterdam, Netherlands: Oude Kerk, 2015.

Oursler, Tony.Tony Oursler.Athens, Greece: Bernier/Eliades Gallery; Agra Publications, 2015.

Oursler, Tony.Imponderable: The Archives of Tony Oursler.Zurich, Switzerland: Luma Foundation, 2015.

2016

Oursler, Tony.M*r>Or.Stockholm, Sweden: Magasin III, 2016.

2017

Oursler, Tony.Imponderable with L7-L5.Barcelona, Spain: Caixa Forum, 2017.

Oursler, Tony and Gustavo Rol.Paranormal.Mantova, Italy: Corraini Edizioni, 2017.

2019

Paparoni, Demetrio.Tony Oursler: Le Volcan, Poetics Tattoo & UFO.Milan, Italy: Dep Art Gallery, 2019.

Collections

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TheCarnegie Museum of Art(Pittsburgh),Fondation Cartier pour l'Art Contemporain(Paris), theHammer Museum(Los Angeles), theHonolulu Museum of Art,[48]theMilwaukee Art Museum,theModern Art Museum of Fort Worth,theMuseum of Modern Art(New York City), theTate Modern,and theWhitney Museum of American Art(New York City) are among the public collections holding work by Oursler.[45]

Art market

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Oursler is represented by:

See also

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  • Inside the Artist's Studio,Princeton Architectural Press,2015. (ISBN978-1616893040)

References

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  1. ^abcdKimmelman, Michael(April 27, 2001)."In the Studio With Tony Oursler; A Sculptor Of the Air With Video".The New York Times.
  2. ^"Charles Fulton 'Tony' Oursler, Jr, 84, of Nyack Resident".Orangetown Daily Voice.September 20, 2016.RetrievedApril 29,2023.
  3. ^Finkel, Jori (June 20, 2010)."John Baldessari's former students share memories".Los Angeles Times.
  4. ^Muchnic, Suzanne(April 2, 2000)."A Projection of the Imagination".Los Angeles Times.
  5. ^Rubin, Billy (2013).Tony Oursler/Vox vernacular: an anthology.Mercatorfonds/Yale University Press. p. 234.ISBN978-0-300-20448-3.
  6. ^"The Loner, Tony Oursler".Electronic Arts Intermix.RetrievedJanuary 8,2013.
  7. ^Rothschild, Deborah (1999).Tony Oursler: introjection, mid-career survey, 1976-1999.Williams College Museum of Art. p. 16.ISBN0-913697-25-7.
  8. ^Rothschild, Deborah (1999).Tony Oursler: introjection, mid-career survey, 1976-1999.Williams College Museum of Art. p. 17.ISBN0-913697-25-7.
  9. ^Rubin, Billy (2013).Tony Oursler/Vox vernacular: an anthology.Mercatorfonds/Yale University Press. p. 212.ISBN978-0-300-20448-3.
  10. ^Miles, Christopher."Tony Oursler".Artforum(Summer 2000): 189.RetrievedFebruary 7,2020.
  11. ^"TimeStream".Museum of Modern Art.
  12. ^Fineartkmv.comArchivedJuly 11, 2011, at theWayback Machine
  13. ^"The Influence Machine homepage".Artangel.RetrievedOctober 9,2010.
  14. ^"Public Art Program Overview"(PDF).Phoenix Convention Center.August 30, 2015.
  15. ^Rubin, Billy (2013).Tony Oursler/Vox vernacular: an anthology.Mercatorfonds/Yale University Press. p. 96.ISBN9789462300323.
  16. ^"Tony Oursler".NYC Department of Cultural Affairs. February 16, 2011. Archived fromthe originalon March 11, 2012.RetrievedJanuary 8,2013.
  17. ^"Holtermann Fine Arts".June 13, 2013.
  18. ^Rubin, Billy (2013).Tony Oursler/Vox vernacular: an anthology.Mercatorfonds/Yale University Press. p. 14.ISBN9789462300323.
  19. ^Ruf, Beatrix."Tony Oursler: X ergo Y".Stedelijk Museum.RetrievedFebruary 9,2020.
  20. ^Oursler, Tony (2015).I/0 underflow.Oude Kerk. p. 03.ISBN9789082244212.
  21. ^"Tony Oursler: Tear of the Cloud".Lehmann Maupin.
  22. ^"Talks at the New School: Tony Oursler".Public Art Fund.RetrievedFebruary 9,2020.
  23. ^"Tony Oursler: Tear of the Cloud".Public Art Fund.
  24. ^"6th: Tony Oursler".Dark Mofo.RetrievedFebruary 9,2020.
  25. ^"Tony Oursler" Eclipse "at Fondation Cartier".Lisson Gallery.RetrievedFebruary 9,2020.
  26. ^"Tony Oursler's first Mandarin-language piece 'Current' debuted in December, enveloping the Nanjing Eye Footbridge and surrounding landscape in layered video projections".Lehmann Maupin. Archived fromthe originalon December 24, 2021.RetrievedFebruary 9,2020– via Instagram.
  27. ^"The Poetics Project".Lehmann Maupin.
  28. ^"Mike Kelley".Solomon R. Guggenheim Foundation. April 9, 2013.
  29. ^Brown, Mick (January 11, 2016)."David Bowie Interview From 1996: 'I Have Done Just About Everything That It's Possible To Do'".The Telegraph.London.RetrievedJanuary 15,2016.
  30. ^Gallagher, Paul (January 12, 2013)."Tony Oursler: David Bowie's latest work is astounding. There's a level of detail and variety in it with the highest level of production".The Independent.London.RetrievedJanuary 15,2016.
  31. ^Kemp, Mark (March 6, 1997). "All The Young Dudes".Rolling Stone.No. 755. p. 24.
  32. ^Ford, Chris (January 15, 2016)."David Bowie, Actor: A Complete Look at His Film and TV Career".Ultimate Classic Rock.RetrievedJanuary 15,2016.
  33. ^"David Bowie releases first single in a decade".BBC News. January 8, 2013.RetrievedJanuary 8,2013.
  34. ^Sullivan, Maureen (September 25, 2014)."David Bowie Is...Only Touching Down in Chicago".Whitewall.Archived fromthe originalon September 10, 2015.RetrievedJanuary 15,2016.
  35. ^"Electronic Arts Intermix: Joyride (TM), Constance DeJong; Tony Oursler".
  36. ^"Fantastic Prayers".
  37. ^"On Our Own | Video Data Bank".Video Data Bank.RetrievedFebruary 7,2020.
  38. ^"The Genius".IMDb.RetrievedFebruary 7,2020.
  39. ^Kelley, Mike (2004).Mike Kelley: Minor Histories--statements, Conversations, Proposals.ISBN9780262611985.
  40. ^"The Influence Machine - Public Art Fund".
  41. ^"TC: the most interesting man alive"(PDF)(Press release). Lisson Gallery.
  42. ^"Electra".
  43. ^"Tony Oursler".Electronic Arts Intermix.RetrievedNovember 24,2013.
  44. ^"Tony Oursler, 17 September – 1 November 2003".London:Lisson Gallery.
  45. ^abc"Tony Oursler".New York:Lehmann Maupin Gallery.
  46. ^"Tony Oursler's spooky archive is coming to Arles".Phaidon Press.RetrievedMarch 3,2016.
  47. ^Halpern, Dan."Darkness Visible".Men's Vogue.Archivedfrom the original on February 4, 2008.RetrievedApril 16,2019.
  48. ^Honolulu Museum of Art, wall label, 'Roman à Clef' by Tony Oursler, 2002, accession March 1, 2013
  49. ^"Oursler".Gallery Paule Anglim. Archived fromthe originalon March 31, 2012.RetrievedMarch 28,2012.
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