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Still Point whirls around a point of centeredness as four screens of home and homelessness, travel and weather, architecture and sports signify the constant movement and haste of late twentieth century life. "At the still point of the turning world, that's where the dance is," wrote T.S. Eliot in "Burnt Norton," the first poem of Four Quartets. Hammer seeks a point of quiet from which all else transiently moves.
Stone Circles is a celebration of ancient pre-patriarchal standing stones, mounds, and circles including Stonehenge and Avesbury.
Inspired by Warhol's 1967 Nude Restaurant, Donegan performs Viva's monologue from the film. She writes, "...I cast myself as Viva and my nine-year-old son as Taylor Mead—Beauty and the Beast reversed. Vintage headphones and a Nintendo DS keep us in our zones. The more I talked—trivial, breathless, at a breakneck pace—the more it reminded me of me getting on my own nerves. The relentless voice hooked up to a nervous system of images, everyday jolts. It's just Mom in the kitchen, serving up a hot dish of cool leftovers."
This collaborative work, featuring the late actor Ron Vawter, was created specifically for the 1992 Day Without Art/AIDS Awareness Day. Here Thornton addresses what she terms "the relationship between the medicalization of the body and the personal."
Made in collaboration with Margie Strosser, Strange Weather is a fascinating and unnerving view of drug addiction that fundamentally questions truth and representation. Ahwesh writes: "Strange Weather expands the job of the viewer, looking, but with an insecurity about what is being seen."
STRING CYCLES is an allegory for the transmission of knowledge in the Internet age, utilizing the ancient art form of string figures, popularly known as Cat's Cradles. It is a weave of traditional storytelling—from African folktales and the Homeric epics—to the visual poetics of Mallarmé. These...
Studio of the Streets XXVI: Public Access Demonstration no. 27
Tony Conrad
1991, 20:31 min, color, sound
"Studio of the Streets is a weekly demonstration at Buffalo City Hall, in support of free speech expression through public access cable television. The demonstration lasts from 12:30 to 1:30 on Friday; the program is cablecast on the Buffalo public access channel every Tuesday at 7:30. Studio of the Streets is a direct response to Buffalo’s suspension of its public access operator last year, which left the city without a public access production facility. Our independently organized public access advocacy group, the First Amendment Network for Public Access Television, approved my initiative to set up our own outdoor public access studio and to do it right on the steps of Buffalo City Hall, where it has been open to anyone who appears there each Friday lunch hour—every Friday since May. Studio of the Streets, like most demonstrations (and artworks), is more important in its symbolic ramifications than it is as entertainment. There has been a lot of talk about multiculturalism, about empowering minorities, women, and those at society’s margins. However, if these persons are to be a part of the discourse, they must first get started by entering into it. Entering into participation in television production is a critical phase of the evolution of a multicultural society. So far, television’s entry level has been regulated effectively by corporations. Public access cable TV is the only noncorporate free speech expression on television. Studio of the Streets goes directly to people in the street, and tests (examines) their readiness to enter into television discourse. It is simply unique in its way of accomplishing the number one job of public access—which is to introduce new groups of people to doing television production. It is also comparatively very popular; it shows in at least one downtown bar, for instance, and runs in a full hour prime-time slot. Studio of the Streets runs without personnel credits, and as a collective expression, it contradicts the ego-centered conception of media art as an esoteric expression of the privileged self. Many artists have contributed during the production of thirty-two shows; the most consistent participation and leadership has come from Cathleen Steffan and myself, both of whom are seen in program XXVII. Studio of the Streets is such a departure from the ideas of quality and craft that prevail within the art world that it will probably not receive public support. Presently each show takes about 20 person-hours of time to make, and costs about $35, excluding the borrowed cameras. The particular show seen here begins with a young man who is eagerly awaiting the arrival of his bride at City Hall; he is getting married and joining the armed forces. Later we encounter still another such couple. Moreover, we hear a woman who works at City Hall describe this as a booming new phenomenon. And as always, everything we see and hear is fascinating—everything is peculiar and special—at the same time as it is all completely everyday." —Tony Conrad
Substrait (Underground Dailies)
Gordon Matta-Clark
1976, 35:15 min, b&w and color, sound, 16 mm film on HD video
In this film, Matta-Clark explored and documented the underground spaces of New York City. The artist chose a range of sites (New York Central railroad tracks, Grand Central Station, 13th Street, Croton Aqueduct in Highgate, etc.) to show the variety and complexity of the underground spaces and tunnels in the metropolitan area.
