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In Frame, four sets of measurements are made with a six-inch ruler. In the first, the rectangle of the camera is placed at an angle, and the trapezoid measured and perceived untrue from the camera viewpoint. In the second, the camera is placed at an angle, and the trapezoid measured is perceived...
Santos bases his self-described "video letter from Hong Kong" on the ambiguity of the word "frame." He refers to the picture or camera frame, as well as to the variable frame rate of digitally manipulated video, and, finally, to the act of framing as a process by which one names, describes, and...
Artists McCarthy and Kelley re-stage classic 1970s performance pieces by Vito Acconci, with a decidedly ironic Southern California sensibility. States McCarthy: "[The piece] is a reference to art now, to a resurgence of the 1970s and an interest in youth in the art world. There are also...
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.
