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Hayward has described her work as a confluence of narrative, emotion, melody, and light, with her dialogue informed more by the way people think than by the way they talk. In Classic Conversations, Heyward narrates a series of cultural images and references, pondering life's minutiae and situating them within the fabric of larger cultural dilemmas.
On a trip in anticipation of an around the world motor scooter tour in 1973, Hammer and her ex-husband traverse the Mendocino coast on their motorcycle – Hammer filming all the while from the rear seat. Light reflections, creative camera perspectives, and Hammer's signature self-inclusion mark this early film.
Abstractions of light, hand shaped mattes, radical exposure changes and the subjective body of the filmmaker mark this early film of Hammer with filmic language that reappears in her later work. Shot in Northern California on the Sonoma Coast and in the woodlands, the beauty and sparkle of silent Super8 is breathtaking and wondrous reminding the viewer of a time before depletion and pollution marked the landscape.
In this film of one of his most daring performances, Matta-Clark climbed to the top of the Clocktower in New York and washed, shaved and brushed his teeth while suspended over the streets in front of the huge clockface.
Writes Shimizu: "I used to work as a photographer hired by a website to promote NYC and the Hamptons nightlife. The promoters would hire the people I worked for to send me over to their party to take photos of the people there. I would go to 2-3 different clubs a night, 4 nights a week. The range...
Club Vanessa is a video about "real love" in the form of a sex tape. "Club Vanessa, a video about the present, begins with me fantasizing about what our lives will be like in the future. That we would have a lot of lovers, that there would be real love, but no jealousy. We were trying to reinvest ourselves in this 60s utopian vision and explore in which ways these ideals have affected us. Also, we were reinvesting ourselves in the feminist history of body performance, reanalyzing the female experience as an object of sexual desire." — Ellen Cantor
Color Aid takes its title from the brand name for packs of colored paper used in art making and teaching. The colors are stacked randomly and shot in close-up; each one acts as a color field which registers shifts in the grain of the paper and of the film. Each remains on screen from three to...
The remains of a Gordon Matta-Clark piece in the basement of 112 Greene Street: a closet-like space with a window — viewers look in on their way through the gallery's ongoing exhibition. The walls are covered with mirrors. The artist, naked from the waist up, is alone with three roosters; he tries to gather the roosters up into himself, covering the roosters over with his body — the roosters scratch and claw and try to get away — gradually they become used to him, his body becomes their home.
In Command Performance, Acconci attempts to replace himself with the viewer. He lies on his back with the camera gazing down on him and begins a hypnotic incantation in which, cajoling, pleading, insulting, fantasizing, he tries to seduce the viewer to take his place in the spotlight. As the tape progresses, Acconci is driven further and further into his fantasy, where he becomes increasingly agitated. He is alternately comedic and cruel, sadistic and seductive as he confronts the relation of artist and viewer, self and other.
Posing as a talking head standing in for the artist Lynn Hershman in her absence, Hershman Leeson advertises her own performance practice in the Bay area and shares a brief reflection on the human impact of what she describes as the “new digital era.” Finally, she invites viewers to respond to...
