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WARNING: This work contains throbbing light. Should not be viewed by individuals with epilepsy or seizure disorders.
"RAZZLE DAZZLE is an early Edison shot cut off at its head and tail and along its four sides from the continuity of events like any camera-shot from a bygone day; no, like any camera-shot, immediately producing an abstraction. This abstraction pictures a great spinning maypole-like device lined with young passengers dipping and lifting as it circles through space... Early stereopticon images also appear, digitally manipulated to reveal their depths. A digital shadow falls upon the scene and yet, grim as things get, as our crimes and failures then and now commingle, the movie proceeds with a cubist/abstract-expressionist zest."
ReactionWear is an audiovisual performance in which LoVid experiments with tactile technologies, sculptural instruments, participatory experiences, and immersive environments. The video performance addresses questions of surface and depth, the organic and inorganic, and control and subjectivity.
In Ready, Wait, played by Trecartin, is introduced as the eponymous figure of the series. Wait waits. He forsakes a "career" in favor of a "job," the execution of which Trecartin calls a "work performance." A careerist like Y-Ready (Veronica Gelbaum) may call the shots, but she is locked in her own endless narcissistic ascent, whereas Wait can retire from his job at anytime, and does, only to come back from vacation marked for containment.
This newly edited historical video documents Acconci's 1973 performance Reception Room, which was presented at the Modern Art Agency in Naples, Italy. Acconci lies naked on a gurney-like table, rocking back and forth as a tape-loop of his voice describes his anxieties about exposing his body and his artwork. Writes the artist: "My voice functions as a scenario that keeps me confined to the bed: once I've exposed my fears and shames publicly, then I might be able to face them in private."
Recording Studio From Air Time is a personal confessional in which video is both a mirror and a mediating device. A documentation of a 1973 performance at Sonnabend Gallery, this is one of Acconci's most psychologically intense exercises in the inversion of the public and the private.
Combining language from Restoration Hardware’s seasonal furniture catalogues with 20th century Federal Housing Authority lending guidelines, Red Sourcebook examines the parallels between the contemporary language of design aesthetics and longstanding justifications for segregation. The Federal Housing Authority guidelines advised banks to adopt exclusionary home loan tactics in a practice known as “redlining,” ultimately driving segregation and houselessness while allowing white homeowners to disproportionately accrue property to pass down between generations. By addressing these sites in tandem, Harris-Babou highlights the reciprocal relationship between the development of home improvement trends and the conflation of private property with white wealth.
Red Tape is the first of several collections of short pieces that function thematically as larger "meta-works." In each of these performative, structuralist exercises, a specific function of perception or representation — as articulated through video technology — becomes a metaphor for a...
Refuses began as a visual extension of Carolyn Bergdahl's poem Fuses (after Carolee Schneemann), which speaks to Schneemann's taboo-shattering 1964-66 film. In Donegan's silent collage of seemingly disparate images culled from Internet searches and home video footage, each new clip directly corresponds to a word in the Bergdahl poem; the apparent stream of consciousness is governed by a rigorous set of rules.
Through video collage, Cantor sets her unapologetically fatalist observations on love and intimacy to a wide-ranging set of audio-visual quotations, including clips from Michelangelo Antonioni’s L’Avventura, Robert Aldrich’s Kiss Me Deadly, the well-known beach scene from From Here to Eternity, the works of John Cassavetes, and more.
The collective from Venice, California known as Video Venice News documented the Watts Festival in 1972 and 1973. Writes Jenkins: "This videotape program presents an overview of what was a historical event in the black and brown community of south east Los Angeles, CA... more notably recognized...
