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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...
Through an innovative juxtaposition of text and appropriated archival footage, Cokes deconstructs the male gaze in cinema and moving image culture. The imaging/reimaging of Joan Crawford, Marilyn Monroe, and Joan of Arc serve as models of this fragile construction, while a scathing commentary of...
For the Paris Biennale in 1975, Matta-Clark made a major cut in two houses adjacent to the Centre Georges Pompidou in Les Halles. The cut, shaped like a twisted cone, was inspired by Anthony McCall's film Line Describing a Cone.
This piece recreates the final moments of Cuban-born artist Ana Mendieta, echoing the style of 1951 film Rashomon. Using interviews, trial transcripts, and performance, the video explores the discrepancies surrounding Mendieta’s untimely death, the subsequent murder trial, the sexual politics of...
Contacts is one of a series of tapes in which Acconci creates a controlled performance situation to explore the limits of a private space. Applying intense mental concentration and intuition, he uses the body as a vehicle to explore perception and interactive communication.
