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<title>Jordan Crandall</title>
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    <td width="286" height="13"><b><p align="left"><font face="Arial" size="3">Jordan Crandall</font></b></td>
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    <td width="99" height="90" valign="top"><p align="center"><a href="JCrandall.jpg"><font
    size="2" face="Arial"><img src="JCrandall2.jpg" border="0" width="100" height="75"></font></a></p>
    <p align="left"><font size="1" face="Arial"><em>Drive, 1999</em></font><br>
    <font size="1" face="Arial">DVD</font><br>
    <font size="1" face="Arial">Courtesy of the artist</font></td>
    <td width="286" valign="top">&nbsp;<p><font size="2" face="Arial">Jordan Crandall was born in
    Detroit, MI in 1960 and moved to New York in 1985. Solo shows have been organized at
    Artlab in Tokyo (2000) and at the Neue Galerie am Landesmuseum Joanneum in Graz (2000).
    &nbsp; His work has been featured in group exhibitions at InSITE in San Diego/Tijuana
    (2000), the Neuer Berliner Kunstverein in Berlin (1999), the ZKM Zentrum fur Kunst und
    Medientechnologie in Karlsruhe, Germany (1999), and participated in Documenta X in Kassel
    (1997). </font></p>
    <p><font size="2" face="Arial">You may contact the artist at<br>
    <a href="mailto:crandall@blast.org">crandall@blast.org</a></font></td>
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    <td width="286" height="58"><font size="2" face="Arial">&nbsp;<p>&quot;'Drive' is a 7-part video
    series that combines traditional cinema with military tracking, identifying, and targeting
    technologies. Incorporating old and new, analog and network, civilian and military,
    'Drive' moves toward a post-cinematic language -- one that has specific historical and
    political resonances.</p>
    <p>Cinema has helped to establish the set of conventions through which the world of
    movement has come to be represented. In computerized tracking and targeting systems,
    however, movement is indicated differently. It is represented by way of its processing
    through databases. A new kind of moving image results. Harnessed to escalating new
    technologies -- embedded within warfare complexes both national and corporate -- these new
    images do not so much represent movements as track them.&quot;</font></p>
    <p><font size="2" face="Arial"><strong>Links<br>
    </strong><a href="http://www.blast.org/crandall">www.blast.org/crandall</a></font></p>
    <p>&nbsp;</p>
    <p><font size="2" face="Arial"><strong>Selected Bibliography</strong></font></p>
    <font size="2" face="Arial"><p>Ashraf, Adnan. &quot;Jordan Crandall: Drive,&quot; <i>Artbyte,
    </i>Feburary-March, 1999.</p>
    <p>Debord, Matthew. &quot;Inside Job,&quot; <i>Artforum</i>, March, 1999.</p>
    <p>Goldberg, Ken. &quot;Jordan Crandall: Drive&quot; <i>Rhizome</i>, 23 November, 1998.</p>
    <p>Princenthal, Nancy. &quot;Jordan Crandall at Sandra Gering,&quot; <i>Art in America</i>,
    March, 1999.</p>
    <p>Princenthal, Nancy, &quot;Spring Livres,&quot; <i>Bookforum, </i>Spring, 1998.</font></p>
    <p>&nbsp;</p>
    <p><font size="2" face="Arial"><strong>Catalogue Essays from the Writing Project</strong></font></p>
    <p><font size="2" face="Arial">New essays will be posted as they are submitted and
    selected.</font></td>
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