For nearly three decades, video artist Tony Cokes has been engaged in a thorough examination of the uses of sound and image by forms of popular culture and mass entertainment. Working independently since the mid-1980s, and as part of the “art band” X-PRZ from 1991 to 1999, Cokes’ videotapes, sound and multi-media installations cull together a broad range of theoretical texts, popular music and archival images that are endlessly borrowed, recycled and sampled to look at the ways in which ideology and power are distributed and subsequently perceived and received. Cokes levels out the field of “appropriation” to include the products of intellectual culture and theoretical discourse, giving visual shape to a history of critical response and further implicating the “culture of critique” in the endgame of capitalism.
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