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Red Tape is the first of several collections of short pieces that function thematically as larger "meta-works." In each of these performative, structuralist exercises, a specific function of perception or representation — as articulated through video technology — becomes a metaphor for a...
Refuses began as a visual extension of Carolyn Bergdahl's poem Fuses (after Carolee Schneemann), which speaks to Schneemann's taboo-shattering 1964-66 film. In Donegan's silent collage of seemingly disparate images culled from Internet searches and home video footage, each new clip directly corresponds to a word in the Bergdahl poem; the apparent stream of consciousness is governed by a rigorous set of rules.
Satterwhite's Reifying Desire series represents a collaboration between the artist and his mother by way of his repurposing of her text and drawings, many intended as proposed home shopping network products. The drawings are rendered into 3D virtual space, forming the backbone of linked metanarratives that touch upon personal history, pop culture, utopia, and queering the ordinary. The artist himself shares these virtual environments, often green-screened in through dance performance.
Through video collage, Cantor sets her unapologetically fatalist observations on love and intimacy to a wide-ranging set of audio-visual quotations, including clips from Michelangelo Antonioni’s L’Avventura, Robert Aldrich’s Kiss Me Deadly, the well-known beach scene from From Here to Eternity, the works of John Cassavetes, and more.
The collective from Venice, California known as Video Venice News documented the Watts Festival in 1972 and 1973. Writes Jenkins: "This videotape program presents an overview of what was a historical event in the black and brown community of south east Los Angeles, CA... more notably recognized...
Originally produced as a music video for Paul Simon's song René and Georgette Magritte With Their Dog After The War, this is a witty tribute to Magritte's work and a haunting visual interpretation of Simon's music and lyrics. A photograph of the Magrittes serves as the point of departure for both...
Reparation Hardware takes up the call of its title as a proposal for the delivery of reparations to Black Americans while utilizing the form of a furniture restoration tutorial to deliver its message. Playing the role of furniture designer finding inspiration in a rustic American landscape, Ilana Harris-Babou examines the impulse to rewrite history with the help of tastefully refurbished antiques.
The artist explores make-up as a traditional mode of self-expression, using it to find a representation of herself with which to face the world.
Hammer has crafted an eloquent and richly layered examination of the artist’s and individual’s role in times of conflict. Resisting Paradise focuses on Henri Matisse and Pierre Bonnard’s artistic work in the south of France during World War II, while also examining the word of Matisse’s family and others in the French Resistance Movement.
Ken Jacobs writes, "In 1969, Tom, Tom, The Piper's Son seized me, with a new film (as I said then) almost incidentally a result. Placing the 1905 Mutoscope original in the computer allows for an unbounded freedom of study and playfulness. Now I seize the film, introducing a quasi-3D and strange time-dimension...Far more is revealed (the stealing of the pig!) and, joined to sound, the old movie even tells a new story."
