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Writes Tajiri: "Off Limits presents an analysis of representations of the Vietnam War, the 1960s, and the Vietnamese characters that have been portrayed in the recent series of films about this subject. I juxtapose a fragment from the film of the same title, made in 1987 about Vietnam in 1968,...
Commissioned for the 1980 Winter Olympic Games in Lake Placid, New York, Olympic Fragments is a taut, expressive reinterpretation of athletic movement, a tour-de-force of dynamic editing and post-production techniques. Through sophisticated visual and aural juxtapositions, Fitzgerald and Sanborn...
In OM Rider, Takeshi Murata deftly weaves the aesthetics of retro-noir, video games, and Italian giallo film into a cinematic exercise in cool, narrative minimalism and distilled rebellion. In a vast desert bathed in neon hues, a misfit lycanthrope blasts syncopated techno rhythms into the night....
In Open Book, Acconci's open mouth fills the screen. Struggling to hold his mouth open, he attempts to talk to the viewer, intoning in an almost unintelligible voice: "I'm not closed, I'm open. Come in... You can do anything with me." The controlled action is typical of the works in which Acconci sets up an implicit agreement to perform a specific act for the viewer.
In May 1972, Matta-Clark installed an industrial waste container between 98 and 112 Greene Street in New York's SoHo district. He collected discarded doors and pieces of timber and divided the interior into three openings. This piece records an opening-day site performance by the artist, Tina Girouard, Keith Sonnier, and other friends.
Acconci's body-based performances are often willfully provocative in their testing of physical limits and controlled actions. Here, as the camera frames Acconci's stomach in close up, he painstakingly pulls out each hair from the skin around his navel.
Barbara Hammer's Optic Nerve is a powerful personal reflection on family and aging. Hammer employs filmed footage which, through optical printing and editing, is layered and manipulated to create a compelling meditation on her visit to her grandmother in a nursing home.
On October 11, 2001, in Times Square, New York City, an ad hoc group of artists named Our Grief Is Not a Cry for War silently demonstrated for peace at a time when the nation was clamoring for war and sacrificing its own civil liberties. Hammer documents the demonstration and, in so doing, makes her own contribution to the national post–September 11 dialogue.
