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HIDEO, It's Me, Mama is a psychological melodrama that introduces narrative and structural devices that are integral to Idemitsu's work. Exploring the flawed universe of the contemporary Japanese family, she focuses on a woman's identity as mother through mother-child and husband-wife...
In History Lessons, Hammer reclaims and rewrites lesbian history through her playful but empowering manipulation of a vast array of archival footage, from popular films to newsreels, sex ed pics, stag reels, medical and educational films, old nudies, and more.
In this powerful "meta-document," Acconci sits in the dark with his back to a screen, onto which are projected slides of his past works, in chronological order from 1969. Autobiographical within the context of his art-making, Home Movies reveals the psychological circuit that propels much of Acconci's work, as he explores the self through a dialogue between the artist and an absent other.
In this lyrical work, Masayesva observes Hopi cultural activities through the cycle of the seasons. Work and play, ceremonial rituals and the rituals of everyday life throughout the year are woven together in a seamless vision that conveys the oral traditions of storytelling, the natural...
Loss, displacement, time and memory permeate this haunting nonlinear narrative, which unfolds like a dream in the process of telling itself. Jonas is seen watching video images — shot in a New York studio and in rural Nova Scotia — that metaphorically relate to the dreams, reveries and memories...
Holland Cotter, writing in The New York Times, describes Trecartin's "sensationally anarchic" new video I-Be Area, in which the artist uses what Cotter terms "very basic digital tools to create a highly personal narrative art, almost a kind of folk art." He writes, "Like the work of John Waters and Jack Smith, his art is about just saying no to life as we think we have seen it and saying yes to zanier, virtual-utopian possibilities."
Discovered after Cantor’s death in 2013, If I Just Turn and Run is an anomaly in Cantor’s body of work. Departing from her metatextual and appropriation-based practice, the video retains the bold, diaristic quality of her work, blurring boundaries between fiction and life.
