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Vulvic puns, jokes and ruminations on the meanings of menstrual blood activate a range of taboos surrounding cultural notions of the feminine as a metaphoric battle ground of the body and of language itself. Schneemann, naked and in red pajamas, merged her physical movements within a continuous...
This film records the complete process of the destruction of Matta-Clark's truck by a bulldozer in a rubbish dump. Part of 98.5, a compilation of films by Ed Baynard, George Schneeman and Charles Simons, this piece was shown in Documenta 5 in Kassel, Germany.
Atlas' exuberantly hip homage to a specific time and place — New York, August 1983 — is a dance "home movie," a quasi-documentary that follows choreographer Karole Armitage and her dancers along the boardwalk of Coney Island and through the streets of Times Square. Atlas' witty "docu-narrative" format, Armitage's exhilarating choreography, and the vibrantly tacky visual milieu vigorously capture the garish, streetwise magic of a New York summer.
From Romance to Ritual invokes and inverts the title of the 1920 book by Jessie L. Weston, as it like the book, draws connections between pagan history and ritual and mythology. The filming style is of the ethnographic film without the expert observer and of the home movie without the father.
Writes Acconci: "I walk in a circle around the camera: sometimes I'm on screen, sometimes I'm off, sometimes I change direction, leaving the screen on one side and coming back on the same side. Every five minutes or so, the location changes: my circle is continuous while the background shifts: bare walls—a corner with a window on one wall—outside, on a roof, with sky as the ground—outside, on a terrace, with other buildings and windows as the ground—inside, in a living room, bookcase and couch in the background. I'm silent; there's a voice-over, it's my voice: on screen, I'm talking about circling you, wrapping myself around you, as I did around 'her,' a person from my past: a kind of trap."
Schneemann's self-shot erotic film remains a controversial classic. "The notorious masterpiece... a silent celebration in colour of heterosexual love making. The film unifies erotic energies within a domestic environment through cutting, superimposition and layering of abstract impressions...
In Galerie de portraits, the artist sketches the portraits of five women from among her closest friends and family (including her grandmother and daughter), composing an intimate, intensely private space. André, master of the subtle romance of the everyday, distills only what is essential—still lifes, nuances, spaces, the rhythm of voices—to obliquely portray the personal essence of the women and convey the intimacy between the artist and her female subjects.
Generations
Barbara Hammer and Joey (formerly Gina) Carducci
2010, 14:36 min, color, sound, HD video
Generations is a film about mentoring and passing on the tradition of personal experimental filmmaking. Hammer, 70 years old, hands the camera to Gina Carducci, a young queer filmmaker. Shooting during the last days of Astroland at Coney Island, the filmmakers find that the fact of aging echoes in the architecture of the amusement park and in the emulsion of the film medium itself. Inspired by Shirley Clarke’s Bridges Go Round, the filmmakers edited picture and sound separately, joining their films in the middle when they finished making a true generational and experimental experiment.
George Maciunas With Two Eyes 1972, George Maciunas With One Eye 1976
Shigeko Kubota
1994, 7 min, b&w, sound
In this rare portrait of Fluxus founder George Maciunas, Kubota pays homage to a mentor and fellow Fluxus artist. Maciunas tours SoHo with artists and friends, including Nam June Paik, Barbara and Peter Moore, and Yoshi Wada; Kubota also documents Fluxus artist Ben Vautier's 1976 opening at the Guggenheim Museum in New York.
This complex, multi-layered work, called an "anti-documentary" by its authors, combines footage of rioting at the 2001 G-8 summit in Genoa with performances by Chloe Sevigny, Werner von Delmont and members of the Black Bloc anarchist group. These elements yield a disorienting and critical video that ultimately questions its own status and role as much as that of its subjects. The artists write that Get Rid of Yourself functions as "a cine-tract that aligns itself with nascent forms of political resistance within the anti-globalization movement... a filmed essay that works by betraying its own form."
