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WARNING: This work contains throbbing light. Should not be viewed by individuals with epilepsy or seizure disorders.
"A curiosity, Movie Show looks backward to the era of structural films, particularly Ken Jacobs’s Tom, Tom, the Piper’s Son. The clip of film used in this performance is taken from my Articulation of Boolean Algebra for Film Opticals, the work with which I closed out my interest in combinatorial and logical structures." —Tony Conrad
In Mumble, Benglis investigates an aesthetic of distraction that could only have emerged from the nascent field of video art. The piece portrays a monitor, and on it the image of another monitor, containing yet a third: recordings nested within recordings. Fixed cameras are trained on static...
Donegan writes, "I had daydream that the Smiths asked me to make a video for their new single...When I was a kid in my 20's and was totally obsessed with the Smiths, the idea of video never occurred to me. Later, like 27 years later, I had a fantasy of what a great Smiths video I'd have made...with a big line dance on 14th Street that I'd film from a slow moving golf cart, with a huge cast of characters dancing like they did on the old Soul Train that I used to watch on TV on Saturday afternoons in the early 70's...I made this off YouTube and iTunes. The past, recovered..."
"This video documentary centers on the questions of civil liberties and cultural differences in a society beginning to open as one woman searches for her own ethnic roots, identity and family history in Ukraine. Issues of human rights, anti-Semitism, homophobia, feminism and a divided and economically-depressed country are encountered as I, a feminist activist and pioneer of lesbian cinema, return to a 'homeland' full of struggling as people search for a new post-glasnost identity." — Barbara Hammer
In this feature-length silent film, Acconci uses hand-written title cards to present an "interior monologue" about speaking, language, and silence. The written text alternates with images of Acconci, alone in the interior of an urban loft or on a rooftop, with the skyline of downtown New York as a backdrop. This metaphorical landscape of isolation resonates in the text, in which Acconci directly addresses several different women by name, alluding to their relationships with him. The women's identities seem mutable; they are consigned to silence, others without a voice. Given the unstable nature of subjectivity in his work, Acconci ultimately appears to be "speaking" to himself.
For this performative/lecture, Schneemann invited Teija Lammi, museum librarian at the Porin Taidemuseo in Pori, Finland, to be an improvisatory participant. Together Schneemann and Lammi physically respond to images of the artist's cats. Schneemann relates her own research into historic obscenities connecting the various implications of "pussy". Lammi translates Schneemann's shocking words into Finnish. The performance was recorded in June 1998 and re-edited in 2010.
