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9/11 is a first-hand, often harrowing document of the events of September 11th and their immediate aftermath. As the tragic events unfold, Oursler records from his apartment, just blocks from the former World Trade Center, and on the ground in Lower Manhattan. In this highly personal and unmediated document, the artist also captures the responses of New Yorkers and tourists at the site in the days that follow.
9/23/69: Experiment with David Atwood
Nam June Paik. In collaboration with David Atwood, Fred Barzyk, and Olivia Tappan.
1969, 80 min, color, sound
9/23/69 is a newly restored treasure. This early masterwork of electronic experimentation was created by Paik while he was Artist-in-Residence at WGBH in Boston. The title refers to the day it was made — September 23, 1969. Paik creates a stunning visual collage that fuses spontaneous, free-form...
"The male/female, subject/object investigation in A Bit of Matter and a Little Bit More does not have any titillating episodes leading up to it. The appetite is not whetted beforehand. Hardcore, the opening shot shows the crotch area of two bodies, male and female, engaged in coitus. The camera...
Goldberg Variation #1 re-constructed with instrumental instructional videos downloaded from YouTube.
A Dance Incorporating Movements Derived from Experiments by Harry F. Harlow and Choreographed in the Manner of Martha Graham
Mike Kelley
1999, 8:32 min, b&w, silent
Screened inside Kelley's installation Test Room, this tape brings together several influences, including choreographer Martha Graham, sculptor Isamu Noguchi (who designed the sets for several of Graham's ballets), and scientist Harry F. Harlow, whose 1950s' experiments into the emotional...
This fragmented documentary/fiction uses a tourist's travel recordings to illuminate what Santos terms the "domestic language" of Super-8 film and the politics of cultural documentation. Super-8 footage shot and narrated by a 78-year-old Brazilian tourist — shaky scenes of Paris, Rome and London...
A Fire in My Belly
David Wojnarowicz
1986-1987, 21 min, color and b&w, silent, Super 8mm film on video
Echoing themes explored throughout David Wojnarowicz’s art and writing, A Fire in My Belly is a visceral meditation on cultural and individual identity, spirituality, and belief systems. On a trip to Mexico City with Tommy Turner to scout Day of the Dead imagery, Wojnarowicz shot 25 rolls of super-8 film, documenting scenes that embodied the violence of city life. A central image is that of a child exploited as a fire-breathing street performer, which resonates in the title of the film and Wojnarowicz’s own experience hustling on the streets at a young age. He later staged scenes in his New York City apartment to combine with this footage, collecting dreamlike images to illustrate thematic sections he outlined in a cutting script. Among these images is a dancing, gun-wielding marionette, coins dropping into a plate of blood, vibrantly colored loteria cards, and the now iconic self-portrait of the artist with his lips sewn shut. A Fire in My Belly was never completed. What currently circulates and is preserved in the Fales Library Collection of NYU is a 13-minute version entitled A Fire in My Belly, A Work in Progress, and a 7-minute excerpt that possibly represents a chapter planned for the finished version.
"Using the structure of a feature film as its basic format, A First Quarter adopts the principles of nouvelle vague cinema as its role model. Simultaneous realities, altered flashbacks, plays on time and space are all components of the form and content of the film. Because it was originally shot in video and then kinescoped to 16 mm film, [it] has acquired a poetic, soft look. The dialogue consists entirely of the work as it is spoken and read, built, enacted, written and painted by the players. As the scenarios build, they appear as tropes, one after another."
In Hammer’s autobiographical experimental film A Horse Is Not A Metaphor, the artist reflects on her personal fight against stage 3 ovarian cancer, transforming illness into recovery. The haunting score is by musician Meredith Monk.
