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Button Happening is Nam June Paik's earliest extant videotape, and possibly his first tape ever. Recorded in 1965 on the day he acquired his first Sony Portapak camera, this previously unknown work has recently been rediscovered and restored. Recorded on computer tape, this technically fragile...
This ambitious live satellite link-up of Japan, Korea and the United States features interviews with Keith Haring and architect Arata Isozaki, and performances and works by Philip Glass and the Kodo Drummers, Charlotte Moorman, Nam June Paik, and Lou Reed. In an extraordinary section, a...
This video documents Cake Walk, an installation and performance piece by artist Houston Conwill, staged in November 1983 at Linda Goode Bryant's pioneering gallery Just Above Midtown (JAM), at its second (downtown) location on Franklin Street. The piece refers to the cakewalk dance which...
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.
A photographic session in which the artist as "ballerina" is photographed by the "photographer" in a set of stills intended to represent her in the appropriately glamorous and correct positions, after only three months of ballet training. The tape juxtaposes the truth of the "still" image, adequate for 1/125 of a second, against the video camera's more extensive duration. The cropped reality photographed is compared to the "truth" of the video camera.
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.
