LOS ANGELES, CA.- —Lucy Raven uses animation as the foundation for her explorations into the relationship of still photography to the moving image. During her 2011 Hammer Residency, Raven embarked on an ongoing investigation of the invention, growth, and mainstream acceptance of 3D cinema, from its roots in early animation to the current global infrastructure that has been established to support its newfound popularity. In the process, she began to amass an exhaustive archive of film and sound test patterns. Key to achieving high-quality image and sound, these test patterns are usually seen only by projectionists. Raven’s new works press these esoteric image and sound fragments into use as both raw material and subject-matter unto itself, freighted with the patina of analog cinema in a digital age. Hammer Projects: Lucy Raven features three new works that promise to broaden our view of the perceptual potential and depth of meaning to be found in the technologies of photography and moving images. The exhibition is organized by Corrina Peipon, Hammer assistant curator.

Lucy Raven was born in Tucson, Arizona in 1977 and lives in New York City and Oakland, California. Her work has been included in exhibitions and screenings internationally including the Whitney Biennial, Whitney Museum of American Art, New York (2012); 11 Rooms, Manchester International Festival, Manchester, United Kingdom (2011); Documentary Fortnight, Museum of Modern Art, New York (2010); Greater New York, PS1, Long Island City, New York (2010); Sound Design For Future Films, Wexner Center for the Arts, Columbus, Ohio (2010); China Town and Archive, Nevada Museum of Art, Reno, Nevada (2010); Eastern Standard, MASS MoCA, North Adams, Massachusetts (2008); In Practice, Sculpture Center, Long Island City, NY (2007); and Con Air II, Performa Radio, Performa05, New York, NY (2005). Raven is a contributing editor to BOMB magazine, and her writing has appeared in publications such as Rachel Harrison: Museum With Walls (Center for Curatorial Studies, Bard College/Whitechapel Gallery/Portikus, 2010); Deborah Stratman: Tactical Uses of a Belief in the Unseen, (Gahlberg Gallery, 2010); and Inge Morath: The Road to Reno (Steidl, 2006). She was the co-curator with Fionn Meade of Nachleben at the Goethe Institute, New York (2010); co-curator with Regine Basha and Rebecca Gates of The Marfa Sessions at Ballroom Marfa, Marfa, Texas (2008); associate producer on Urbanized (2012); and co-producer of a series of online documentaries for the Oakland Museum of California (2012).