"the Nelsons’ piece is the highlight of the show. It consists of four projectors – a 16 mm, super 8 mm, video and slide projectors – each projecting on the wall a piece of an image of the Kodak headquarters in Rochester, New York. The result is a static image that is also a composite collage of mediums.
You don’t need the reference in title to immediately think of Andy Warhol’s film Empire.
Like Warhol’s work, the Nelsons’ piece takes up questions implicit to
the nature of film – the way filmic documentation transforms time into
an abstraction, for instance – while also exposing the contingency of
cinematic aesthetics on technology and economics. Ephemerality is built
into the piece; the 16 mm and 8 mm celluloid will gradually deteriorate
during the work’s life and eventually there won’t be any film stock
being produced to restore or replace it. That active deterioration
almost makes the projectors themselves feel like a kind of assemblage
sculpture, while it is also directly relates the entire piece to the
allegorical reference of Kodak’s towering corporate headquarters.
There’s a wonderful irony here: the art work isn’t merely presenting an
image, but is participating in a temporality that is directly related to
the ephemeral nature of economic power, the use-and-dispose
capitalistic life cycle symbolized by the conglomerated image of
excerpt from "Even if You Can’t Pronounce the Name, the Dallas Medianale Demands to Be Seen"