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The artist writes that this work, "a response to Pee Wee's Playhouse, focuses on the girl child, grappling with the fluidity of gender roles as she role-plays with her toys."
From behind a pyramid of TV monitors, perhaps calling to mind the TVs stacked for destruction in Ant Farm’s Media Burn (1975), Jenkins slowly rises, garbed in protective eye goggles and an American flag scarf. He begins to intone a haunting refrain: “You’re just a mass of images you’ve gotten to know, from years and years of TV shows…,” echoing the agitprop of the 1970s guerrilla television movement, which sought to tune people into their manipulation by commercial television. However, Jenkins trains his focus on mass media’s racial oppression.
At first glance, Masters of None could be the home video of a family of neon-pink hooded figures, passing the time with charades, television, and Jiffy Pop on the stove. As in All Together Now, Masters has no dialogue or clear narrative arc, and while the domestic activities seem everyday, they...
Maya Deren’s Sink explores Deren's concepts of space, time and form through visits and projections filmed in her Los Angeles and New York homes. The project began after Hammer discovered a sink formerly owned by Deren at Anthology Film Archives and embarked on an homage to the "Mother of American Experimental Cinema."
Media Burn
Ant Farm: Chip Lord, Doug Michels, Curtis Schrier, Uncle Buddie
1975, 23:02 min, color, sound
Media Burn integrates performance, spectacle and media critique, as Ant Farm stages an explosive collision of two of America's most potent cultural symbols: the automobile and television. On July 4, 1975, at San Francisco's Cow Palace, Ant Farm presented what they termed the "ultimate media event." In this alternative Bicentennial celebration, a "Phantom Dream Car"—a reconstructed 1959 El Dorado Cadillac convertible—was driven through a wall of burning TV sets.
Produced with the Bronx Museum of Art, Melehi is a portrait of the Moroccan painter Mohammed Melehi and his work. Shot in the artist's Casablanca studio and in Rabat, Marrakech, and the Atlas mountains, the tape places Melehi within the larger tradition of Islamic art and culture. Inspired by the...
A wry comedy on the disagreeable aspects of menstruation, in which women act out their own dramas on a California hillside, in a supermarket, in a red-filtered ritual of mutual bonding. Menses combines both the imagery and the politics of menstruation in a fine blend of comedy and drama.
Lies & Humiliations is a haunting and lyrical work that merges poetic language and Super-8 images to invoke memory and its ghosts. Infused with an almost ethereal light, images of a house evoke its past — an old-fashioned kitchen and dining room, an ancient roof. Visions that recall childhood...
Merce by Merce by Paik Part One: Blue Studio: Five Segments
Merce Cunningham and Charles Atlas
1975-76, 15:38 min, color, sound
Blue Studio: Five Segments is a groundbreaking work of videodance by postmodern master Merce Cunningham and his then filmmaker-in-residence, Charles Atlas. In a series of short pieces choreographed and performed specifically for video space, Cunningham is multiplied, overlaid and transported from the studio to a series of unexpected landscapes. Cunningham's gestural dance is manipulated to the accompaniment of a disjunctive audio collage that includes the voices of John Cage and Jasper Johns.
