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Sanctus is a film of rephotographed moving x-rays, originally shot by Dr. James Sibley Watson and his colleagues. Making the invisible visible, the film reveals the skeletal structure of the human body as it protects the hidden fragility of interior organ systems.
Here Moulton's alter ego Cynthia again gains access to a parallel universe via the transformative powers of New Age body treatments and domestic objects. After applying a facial beauty mask, she moves through an environment energized with Southwestern motifs and rituals, from sculpted heads and Georgia O'Keefe-like forms to sand painting and hot stone massage. Ultimately Cynthia is transported to a fantastical world and emerges transformed.
A companion to All the Parts from Simon and Garfunkel’s 1984 Park Performance, in which Arcangel documents his own gestural interventions of consumer recordings of the duo’s performances. As he plays a Simon and Garfunkel DVD in his living room, the artist holds his hands up to cover any instance of Simon appearing onscreen.
Score for Joanna Kotze was written by Silver for the choreographer Joanna Kotze during their shared time at the Bogliasco Foundation Residency in Italy, and later reformulated as a moving image work. The score itself is un-danceable, examining the attunement to a surrounding environment enacted through performance.
This tape investigates the media's portrayal of African American males, specifically the use of stereotypes in such cases as the Mike Tyson and O.J. Simpson trials. Jenkins responds to the ceaseless televisual repetition of images from such events by constructing this tape as a 25-minute loop of...
The artist listens as her friend, a Garfield plushy, confides in her.
The confluence of words and movement propels this multi-layered collaboration by Atlas, choreographer Douglas Dunn, and poets Anne Waldman and Reed Bye. Dunn's athletic choreography is performed to the rhythms, cadences, and associative meanings of the poets' "cascade of words," which function as music. Atlas introduces narrative references, ironically staging the dance in unexpected locations, including domestic interiors and vehicles. Atlas and his collaborators intersect the language of words with the language of the body.
