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Produced for public television station WNET/Thirteen in New York, Nam June Paik: Edited for Television is a provocative portrait of the artist, his work and philosophies. This fascinating document features an interview of Paik by art critic Calvin Tompkins (who wrote a New Yorker profile of the...
WARNING: This work contains throbbing light. Should not be viewed by individuals with epilepsy or seizure disorders.
In the three-part series Nine Years Later, Beck revisits video performances he created nearly a decade earlier to music by the British pop band The Smiths. Beck betrays the apparent effortlessness of the original clips by editing them alongside the numerous rehearsals, variously self-conscious...
In the three-part series Nine Years Later, Beck revisits video performances he created nearly a decade earlier to music by the British pop band The Smiths. Beck betrays the apparent effortlessness of the original clips by editing them alongside the numerous rehearsals, variously self-conscious...
Panic is one in a three-part series in which Beck revisits footage of video performances he created nearly a decade earlier. Inspired by the music of the British pop band The Smiths, and interspersed with inter-titles and voice-over quoting from technical manuals, Beck channels the malice implicit in Morrissey’s lyrics – and correlates his visceral body-oriented performances with the video equipment he used to record and edit them.
In her first feature, after decades as a pioneer of lesbian cinema, Barbara Hammer weaves striking images of four contemporary gay and lesbian couples with footage of an unearthed, forbidden, and invisible history, searching eroded emulsions and images for lost vestiges of queer culture.
No No Nooky T.V. confronts the feminist controversy around sexuality with electronic language, pixels and interface. Even the monitor is eroticized in this film/video hybrid that pokes fun at romance, sexuality, and love in our post-industrial age.
LoVid composes a strobing synesthetic landscape of image and sound that is equal parts glitchy animation and input from an analog synthesizer. The piece sees the collision of two visual worlds, whose complementary movements create an at times overwhelming juxtaposition and at others unexpected harmony.
Nocturne, writes Ahwesh, is "a psychological horror film built on the conflicts of a woman tortured by the ambiguity between reality and illusion, dream and desire."
