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In elegiac work, Kubota explores the relationship between two of the most influential figures in 20th century art and music. The core images are Kubota's own photographs of the famous chess match between Duchamp and Cage in 1968, in which the board, wired for sound, functioned as a musical instrument. Recordings of Cage's compositions accompany the stills and video footage, which Kubota electronically processes to abstraction.
Writes Cokes, "The video animation is based on the closing section of Cokes' and Perchuk's second collaborative presentation, 'Margins and Bubbles,' at 'Our Literal Speed 2' at the University of Chicago in May 2009. Visually, it features text excerpts from an interview between artist Tino Sehgal and critic / art historian David Joselit on contemporary art, the political potentials of the marketplace, and the positive value of 'consumer choice' that took place at OLS1 at ZKM in Karlsruhe."
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...
