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"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
"With Bamboo Xerox, I found another strategy to move my audience and break illusions. I photographed bamboo (my favorite grass) from my backyard and then xeroxed both sections of living bamboo and the photographic stills of the bamboo. After editing the film, I had the entire six-minute film blueprinted as a black and white scroll. I stretched the scroll horizontally around the theater space so that the audience could see the film frame by frame before they saw the projection." — Barbara Hammer
Using a hand-held camera, Hammer initially shot on 8 mm stock. Her second film—created in 1968 while the artist was still married (her married name was Barbara Ward)—programmatically shows the desecration of a graveyard. Though only at the beginning of her development as an artist, she already disturbs the peace of the dead, confidently erecting a monument to herself amid them: "Barbara Ward Will Never Die." The young filmmaker stakes her claim to a place in history.
Barbie wants to be the perfect lover for Ken, but there is alcoholism and anger and the consequent violation of their actual love. Based on a text called Alcoholism: The Merry-Go-Round of Denial, Barbie struggles throughout to retain her innocence. Consequently, the style of the video is handmade and childlike. The songs in the video, by Willie Nelson and Julie London (which I lip-sync), become the interior dialogue between Barbie and Ken." — Ellen Cantor
Elliot Caplan's 35-mm film adaptation of Beach Birds, a dance work originally choreographed for the stage, begins with Merce Cunningham outlining his approach to dance for the camera, and thus his vision for how movement behaves and how we see it. He explains that the piece is choreography...
In Because We Must, Atlas continued his collaboration with British choreographer Michael Clark, the enfant terrible of the dance world in the 1980s. Based on an original stage production at Sadlers' Wells Theatre in London, this is an ironic, irreverent work that is as entertaining as it is provocative. The extravagant stylization and burlesque humor that pervade the choreography, costuming and staging are mirrored by Atlas' focus on the theatricality of the performance and the artifice of the behind-the-scenes narrative.
Three highly intellectual, highly sexual, visually playful digital works, charged with humour and political power. Hammer plays with the tools of digital processing mixing up the ‘straight love story’ by queering love and seduction through pixels gone astray.
Writes Kelley: "BEHOLDEN TO VICTORY is an edited video version of the full-length super-8 film Hail the Fallen. It is a 'war movie' genre picture. This film is normally presented in an active way — the act of screening the film is theatricalized by requiring the audience to wear costumes, and...
Composed entirely of film scraps salvaged from a closed Beirut cinema, this is a collage of sensational visions. Writes Ed Halter: "Outtakes appears to be a ready-made...pre-filled with Ahwesh's signature elements: gleeful disruptions of high and low, affection for decayed textures, a peeping eye for lurid sexuality, and a fascination with unlikely images of the Middle East. Just one sequence of a go-go-booted belly dancer wriggling in an Arabic-language cinema advertisement for home air conditioners alone has the power to shatter more stereotypes than 500 pages of Edward Said."
