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Participation represents the Vasulka's experience of the New York downtown scene in the late 1960s and early '70s. In this fascinating portrait of wildly creative people, places and times, the artists use the early Portapak video system to document, among others, Don Cherry performing in Washington Square, Warhol Superstars on stage, and Jimi Hendrix in concert. This pioneering video document is a free-form time capsule of an era.
"Passage to the North revolves around a reverse Ibsen dialogue (Ibsen's people would have longed for the south) about the necessity of the various characters-including two hard-faced young women in black leather coats and a soft man-going to the north. Domestic scenes of inquisition and conflict are intercut with black and white photographs and movies of a fire being put out on the blackened remains of a ship..." — Ann-Sargeant Wooster
Path of Totality documents the events leading up to the August 21, 2017 total solar eclipse in St. Joseph, MO (one of the prime locations within the path of the shadow as well as the hometown of the artist). Featuring a colorful array of eclipse-chasers, middle-Americans, and commercial opportunists who descended upon the small town in anticipation for a moment of impending darkness, the work captures the peculiar mixture of anxiety, amusement, and reflection summoned by the cosmic event.
Using an historical lantern-communication system based on light and sound signals, the film addresses fundamental problems and questions of nonverbal information exchange. Working with Joan Jonas, Serra discusses the phrase “One, if by land, and two, if by sea,” the secret signal used by the...
Pause brings together Cokes' inquiries into issues of cultural identity and the codes of pop music. Exploring the formal features of contemporary electronic music in relation to African Diaspora cultural forms, Cokes appropriates a popular, Internet-disseminated musical "mash-up" to suggest that "electronica and Black cultures both critique Western ideas of material progress and temporal development through ruptures, accidents, and repetitions."
Peggy and Fred in Kansas is one of the earliest installments in Thornton's Peggy and Fred in Hell series. We are introduced to the post-apocalyptic room where the children, "raised on television," act and re-enact a disjointed play on media narratives. Peggy and Fred channel their isolation like open radios, as if boredom were the frequency from which media is transmitted.
Part of a series of videos composed with LoVid's handmade analog synthesizer, this video and sound piece creates a hypnotic illusion of traveling into flickering geometries and simultaneously forces an awareness of the screen's planar materiality. Color and motion, in play with static figures in black and white, are set in explosive tension with one another in the final moments of the video, where the intensification of rhythm and a frenetic overlap of color and emptiness effect a totality of saturated incomprehensibility.
"Vice President Mike Pence eagerly plays cheerleader in chief for Donald Trump. In accepting the vice-presidential nomination in 2016, Pence proclaimed, 'I'm a Christian, a conservative, and a Republican — in that order,' suggesting how we might understand his role. This ground-breaking,...
Comprised of newsreel out-takes purchased by Jacobs for $5 on Canal Street, Perfect Film depicts the news as "a daily tidal sweep and very little of what we learn can stick, and move us to take action towards the control of events. Anything may be revealed for a day and then it must clear the stage immediately."
