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In Hand Dryer, the artist dries her hands in the bathroom of the Loews Theater in Union Square after a screening of Men in Black III. The camera draws attention to the force and loudness of the dryer.
As in Serra’s other Hand films, Hand Lead Fulcrum involves a task performed in real time and emphasizes the tension of containment within the film frame. In Hand Lead Fulcrum, Serra’s arm functions as a fulcrum while his hand holds a roll of lead at the top of the frame. The weight of the lead...
Hands Scraping reduces the frame to one sequential structure in which the action demonstrates a reductio ad absurdum, for more energy is expended at the end to do seemingly less work. The film involves a particular kind of choreography for hands: the hands of Serra and his collaborator Philip...
Hands Tied, rather than being a task, is the performance of a feat, which lasts as long as it takes Serra, whose hands are tied with rope inside the frame, to untie the knots. The film sets up a dialectic between hands and material as the hands move and strain in loosening the rope. As in Hand...
Happy Birthday, America
Maxi Cohen. In collaboration with Video Repetorie.
1976, 16:03 min, b&w, sound
Viola writes: "I was thinking about light and its relation to water and to life, and also its opposite — darkness or the night and death. Video treats light like water — it becomes fluid on the video tube. Water supports the fish like light supports man. Land is the death of the fish — darkness...
With Head, Donegan ushered in a new era of brash, low-tech performance video. Here she confronts sex, fantasy, and voyeurism in an autoerotic work-out performed to pop music. The tape records a direct performance action: Donegan unplugs the spout of a plastic container; a stream of milk spurts...
In Headphones, Cokes investigates the social value of music as a means of channeling violence, before and after its economic profitability. Animating a text by music theorist and economist Jacques Attali, author of Noise: The Political Economy of Music (1977), Cokes argues that music "piracy" is not a crime or aberration, but a logical result of the marketing of music reproduction technologies.
