Gretchen Bender

Gretchen Bender (1951 in Seaford, Delaware – 2004 in New York City) was an American artist who worked in film, video, and photography. She was from the so-called 1980s Pictures Generation of artists, which included Cindy Sherman,^[1] Robert Longo, Jack Goldstein, Laurie Simmons and Richard Prince. These artists mixed elements of Conceptual Art and Pop Art, using images from popular culture to examine its powerful codes.

Bender also designed the credits for the TV show America's Most Wanted, which Roberta Smith of the New York Times suggested in 2004 "may have originated the rapid-fire hyperediting now pervasive in film, television and video art."^[2] She also directed music videos for such musicians as Babes in Toyland, edited music videos directed by Robert Longo, and designed sets for the choreographers Bill T. Jones and Molissa Fenley, including the former's Still/Here that New Yorker dance critic Arlene Croce condemned.

Her work is in the collections of the Museum of Modern Art in New York City, the Pompidou Center in Paris and the Menil Collection in Houston.

Early life[]

She was born in Seaford, Delaware to Charles and Carolyn Bender, and had one brother and two sisters. Her childhood was characterized by the era of big Hollywood extravaganzas at local theaters and constant messaging by early television. Her parents had a general interest in art and instilled basic artistic techniques in her. This led her to develop an interest in pursuing traditional studio art.^[3]

Education[]

She earned a bachelor of fine arts from the University of North Carolina at Chapel Hill in 1973. While earning her bachelors, her instructors emphasized the decorative nature of studio art, which turned Bender away from the general art curriculum. It was only later, when visiting the university art gallery, that she was introduced to a group exhibition of experimental artworks. It was this experience that exposed her to a new mindset of exploring and communicating ideas and visions that drew her to engage in various cultural examinations of the time.

Bender then turned to the printmaking department, seeing it as the best place for radical discovery within the art school. It was here that she became interested in the silkscreening process because of its mass production potential and accessibility for a large audience.^[3]

Early career[]

After earning her bachelors, Bender moved to Washington, DC to continue her interest in printmaking by working at a feminist-Marxist silkscreening collective. At the collective she printed banners, T-shirts, and other materials for political demonstrations. These exercises helped her absorb crucial information related to the synthesis of art and politics (a practice relevant to her later work). Though her work in DC created a solid foundation for her future work, she felt the city was too constricting for young emerging artists. She was soon taken in by New York City and the large experimental performance scene many artists were involved in.

Upon moving to New York in 1978,^[4] Bender befriended like-minded artists, including Eric Bogosian, Bill T. Jones, Robert Longo, Richard Prince, Cindy Sherman, and Arnie Zane. Emboldened by this supportive community, Bender continued working with the silkscreen process but this time on square tin panels, arranging them into numerous shapes. At this same time, she gradually began to incorporate abstract computer graphics into her work that were generated from media images found in network television.

By 1982 Bender had found television to be a fruitful source of imagery that she could reprocess and recontexualize in her work. This became a differentiating advantage as most other artists at the time resisted using television because of the necessary technical skills. In a 1985 article in Andy Warhol's Interview Magazine, Bender asserted that “artists should be spending their money on VCRs instead of paint and canvas.”^[5] This differentiation gave Bender the opportunity to exhibit widely at many locations, such as the alternative gallery Artists Space, and the progressive gallery Nature Morte.

With this new-found medium, she taught herself how to edit and work with video and quickly put together her first media-theater piece. It included video, film, and slide projections that she orchestrated on a stage to create the effect of a media-image overload. She took video footage from television to examine corporate logos and the power structure the constitute in society.^[3]

Her style began to evolve, combining live television, documentary, and abstract photo-panels, frequently with a chaotic aesthetic. Bender often silkscreened phrases and words directly onto the television screens. These slogans typically included phrases like “Relax,” “I’m Going to Die,” and “People with AIDS.” Viewed through this augmented lens, each broadcast image appearing on the televisions became labeled with the jarring phrases printed on the screen. The superimposed texts became subliminal codes meant to awaken the viewer’s consciousness when encountering the controlled, mental-zombie state of television; and made viewers more critical of the content they were receiving and the various candy-coated images used to intrude them.^[3]

Later career[]

Bender continued to work with television, and began to group the electronic boxes into arrangements recalling the displays found in the television department of an electronics store, but with an unconscious and ideological discursive twist. In this way, Bender continued to explore the parasitic relationship between television and technology and its concomitant psychological manipulations. Through her eyes, humanity is composed of videodrome refugees.^[3]

She had her first New York solo gallery show in the East Village in 1983 at the Nature Morte Gallery. She appropriated images from the Neo-Expressionist painters of her generation, and in her more dramatic pieces put computerized patterns together with grisly images from mass murders. A theme throughout her work is the contrast between the power of corporations and technology with the struggle of individual human beings.^[2]

Eventually showing with Metro Pictures,^[6] her mid-career retrospective was organized by the Everson Museum of Art in Syracuse in 1991, and toured internationally, as did her multimedia installations Total Recall (1987) and Dumping Core (1984). The former, along with Wild Dead (1984), which she showed at Danceteria, the New York City dance club, have been called her central installations from that decade. Total Recall, was an eight-channel installation with 24 TV monitors and two rear projections that combined corporate logos from TV commercials, computer-generated forms by Amber Denker, doctored clips from Salvador with a post-punk soundtrack by Stuart Argabright.^[6] She was included in the 1989 Whitney show "Image World: Art and Media Culture," with Jeff Koons, Jenny Holzer, Barbara Kruger, Cindy Sherman, Sherrie Levine, and David Salle^[7] and in 1992, "Contemporary Women Artists: Mixed Messages" with Kruger and Sherman again, and Nancy Dwyer, held at the Castellani Art Museum, on the campus of Niagara University in 1992.^[8] Her 42-foot-long work People in Pain, a vinyl field backlit by neon illuminating a series of movie titles that point to the cultural and narrative meanings of the films named,^[9] was included in the 1989 "Forest of Signs" show at the Los Angeles Museum of Contemporary Art, and later, in 2014 in the Whitney Biennial.^[10] She taught video art at Hunter College in the 1990s.

She died of cancer on December 19, 2004 at age 53 in New York City and is survived by her long time partner, Mitchell Wagenberg.^[11]

Posthumous exhibitions[]

• Gretchen Bender, So Much Deathless (A retrospective), Red Bull Arts New York, 2019

Collections[]

Her work is in the collections of the Museum of Modern Art and Metropolitan Museum of Art in New York City, the Pompidou Center in Paris and the Menil Collection in Houston.

References[]

External links[]

• "Gretchen Bender by Cindy Sherman," BOMB Magazine, Jan 1, 1987