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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.
Muntadas subverts the language of commercial advertisements in his witty visual critique of the production and consumption of television images. The three segments — Fuse,Time and Slow Down — are visual commentaries that challenge specific formal elements of TV advertising: edited time, visual...
In December of 1984, a "living" billboard was erected on Sunset Boulevard in Los Angeles as a promotion for a line of jewelry. A group of aspiring actors took up residence on it, each competing to outlast the others and win a screen test. Artists Chip Lord, Branda Miller and Antonio Muntadas...
S.S.S. is a personal, visual commentary using the billboard as a "Media Case" in the larger context of America, circa 1985.
Unset Blvd. deals with dreams and memory, surveillance and media coverage, investigating the experiences of the only woman on the billboard.
