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This film documents the major building cut made by Matta-Clark in a house on Humphrey Street in Englewood, New Jersey.
This historical videotape, produced in 1973 by Art/Tapes/22 in Florence, Italy, is being made available for the first time in decades through EAI's Video Preservation Program. Acconci writes: "Black screen—a spotlight, circle of light on the floor, just part of it off-screen, in front of the screen, in the viewer's space. I'm off-screen, singing: the tone is vague still, indefinable. Then I come into the spotlight, partly, so that my face is barely visible: 'I'd be dancing for you—I'd know you were watching—I'd be at my peak.' Off-screen, grand song; then I'm back: 'I'd know you were watching—but I'd be nervous, I wouldn't know whose side you were on.'"
Stand in the Stream is an ambient digital film shot on multiple camera formats over the course of six years. Following the arc of an activist/worker’s deterioration and death amidst shifting political and digital landscapes, the film moves through the home, the wild, online chat rooms and the streets with Vertovian intensity. Using no found footage but only that shot by Kahn or screen-recorded by Kahn in real time, Stand in the Stream brings live witness to our screen-saturated perspectives, begging accountability, acknowledging participation. The film’s core conceptual framework—that resistance and resilience bloom despite the inextricable flows of socio-political power and capitalism’s acculturation in our very personhood—structures Kahn’s massive collection of footage, edited with high speed precision and driven by a dense and visceral sound-score.
Steelmill/Stahlwerk
Richard Serra
1979, 27:14 min, b&w, sound, 16 mm film on HD video, German with English intertitles
Serra’s film about the production of his sculpture Berlin Block (for Charlie Chaplin) (1977) at the Henrichshütte Hattingen steelworks in the Ruhr Valley, begun roughly one year before the first major wave of strikes in the German steel industry since the war, combines conventions from...
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."
