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Roberta Smith writes in The New York Times, "Ms. Kahn is seen with a bloodied nose, a viking helmet and a large wedge of rubber Swiss cheese, rambling around Los Angeles, talking to the camera, Ms. Dodge and us. The one-sided conversation turns variously competitive ('You should have been there...
Carl Ruggles Christmas Breakfast 1963
Carolee Schneemann
2007, 9:02 min, color, sound, 16 mm film on video
In her earliest film, which has been newly transferred to video, Schneemann presents an abstracted portrait of the American composer Carl Ruggles, known for his irascible personality and finely-crafted atonal music. Ruggles is seen enjoying pie a la mode and ruminating on subjects ranging from Christmas to his incomplete opera The Sunken Bell. The hand-painted film stock heightens the impressionistic vitality of this snapshot of the 84-year-old composer.
Juxtaposing two restagings of a melodramatic scene from The Who's rock opera Tommy, Donegan analyzes how media cannibalizes, revises, and resurrects itself. In Donegan's almost psychedelic renditions, a silver-garbed, red-wigged performer capers in a theatrical non-space of foil, plastic, police tape, and rescanned video images of Ann-Margret. First actress Garland Hunter enacts the scene, and then, in a silent version, Donegan herself takes the role.
In Cheryl, Donegan's starting point is the appropriated audio of a self-motivating corporate monologue by a woman named Cheryl. A model of forced enthusiasm, this stand-in repeats a litany of retail clichés and self-encouragements; the audio is coupled with a flow of low-res images, taken from the Web, of cheaply made, kitschy consumer items.
In Gag, Donegan sits, hands behind her back, clutching a baguette between her knees. She chews and swallows the bread until only a stub remains. In Guide Donegan uses her hands and fingers to chart a path of "footprints" on paper, only to immediately smear and obscure the prints with water and a...
In these three performance-based, gestural works, Donegan uses her body as an art-making tool to subvert traditional modes of painting and play with notions of identity and art history.
Cinéma Metaphysique: Nos. 2, 3 and 4
Nam June Paik and Jud Yalkut
1967-72, 8:39 min, b&w, sound, 16 mm film on video
This early work belongs in the company of Paik and Yalkut's classic collaborative "video-films." To the accompaniment of the abrupt sonic interjections of Fluxus-affiliated composer Takehisa Kosugi, Yalkut's film records brief, masked views of human actions. Reminiscent of Beckett's theater, as well as the minimal movements of 1960s avant-garde dance, Cinéma Metaphysique is a study in gesture and stillness, noise and silence.
Jacobs documents New York in the immediate aftermath of September 11, 2001, from the emergency workers and crowds around Ground Zero to the spontaneous memorials in Union Square. He records the process of gaining access to his own apartment, just blocks north of the Trade Center site, from which smoke was still rising. Jacobs' camera returns repeatedly to the empty sky, gazing as if in disbelief at the void.
City Slivers is a formal investigation of New York's urban architecture. Created to be projected on the exterior facade of a building, it was shown for the first time in the open air exhibition ARCADES and later in the Holly Solomon Gallery.
Classic and Recent Installations/Pavilions 1974-2008
Dan Graham
2009, 15:37 min, color, sound and silent
Compiled by Graham, this survey features video documentation of ten installations, including a series of the architectural sculptures that the artist terms "pavilions." Typically composed of transparent or mirrored glass, and often placed outdoors in public sites, these structures further Graham's investigation into public and private spaces and invite a dialogue between the viewer and the environment. The documentation spans twenty-five years, from Present Continuous Pasts (1974) at the Centre Pompidou, Paris, to the 2008 For the Daughter of Jeppe Heim/Splash, from a private collection in Australia.
