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As Is: is a mythical interpretation of New York City, from the grand theater of its urban architecture to its diverse ethnic heritage. Velez reshapes and layers the urban landscape, isolating gestures and rituals — the hand signals of traders on the New York Stock Exchange, coffee taste-testers —...
Ask the Goddess is a provocative performance in which Schneemann interacts with the audience by responding to sexual and psychic dilemmas read from cards they have submitted. A continuous relay of projected slides comprises an iconography of Goddess symbols, taboo and sacred, as Schneemann reacts spontaneously to the questions.
Asymptomatic Carrier explores New York City’s abandoned North Brother Island, the site of a former quarantine hospital that housed “Typhoid Mary,” presently crumbling amid dense, overgrown forest. A man claiming to be living off the island for many years calls a vendor to negotiate the particulars of a flag purchase, digressing into a frank discussion encompassing time, isolation, and disease.
Barbara Hammer takes her camera out to film the audiences at screenings of her films – some women only, some mixed – at the London Film-makers' Co-op; at the Roxie Theater, in San Francisco, during Gay Pride Week (where the audience includes fellow filmmaker Curt McDowell); at The Funnel, in Toronto; and at McGill University, in Montreal.
This tape is an exercise in spatial perception, using mirror reflections of people and their movements.
"Available Space is a film made for performance on a 360 degree rotary projection table. A woman breaks through confining architectural space, the limited space of a film frame, and the boundaries of a movie screen. Unexpected angles, corners, slants, floor and ceiling are engaged in unexpected play and projection. The film can also be shown as a single channel without live performance." — Barbara Hammer
Commissioned in 2019 for an exhibition at the Hudson Yards art space The Shed, B4 & After the Studio Pt. 1 examines the intertwined relationship between art and real estate development, repurposing a text on the 1988 Tompkins Square Riot and an excerpt from Sharon Zukin’s 1989 book Loft Living:...
In June 2008, Michael Smith staged a birthday party for his legendary character Baby Ikki at EAI. Baby Ikki's Birthday Party documents this performance, following the diaper-clad baby as he interacts with party guests and an ebullient clown named Curly. During the party, cake was served, games were played, a piñata was broken, guests sang "Happy Birthday," and gifts were opened. There was even a puppy.
With a striking economy of means, Ramos enacts a close-up performance action: he blows up a balloon with his nostril until it bursts in his face. He then repeats this action with his other nostril. Alternating nostrils, he continues to blow up the balloon until it bursts. With each iteration his exhaustion visibly increases; he gasps for breath, almost to the point of passing out.
"In Bambi's Beastly Buddies, Bambi and skunk embody innocence, vulnerability and love. I lit Bambi on fire to a refrain from Beethoven's Ode to Joy, on the morning of May 11, 2004, when I read that Nick Berg, an American telecommunications contractor, was beheaded by Islamic militants on live video. I felt Bambi's incineration symbolized the times we live in." — Ellen Cantor
