Pastures filled with the bounty of a meateater's fantasy fill the screen with bellows of bovine origin as testosterone-driven madness runs rampant on 20,000 acres of Oklahoma soil.
Shot in low-light style, Kuchar documents his experiences with various underground filmmakers such as James Broughton and Ken Jacobs, then moves on to the other side of Hollywood lifestyle to visit Nicholas Cage.
The young and the innocent at the mercy of a palpable presence oozing menace and scarlet-stained goodness as a strawberry sundae melts under the glare of future hell-firestorms in search of kindling.
“[Segalove] pursues her self-analysis via the popular culture and TV addiction of her youth: seeing JFK shot on TV, falling in love with the TV repairman, being glued to the tube while suffering from the requisite bout of mononucleosis, and associating
French performance artist Orlan uses her own body as a sculptural medium.
St. Marks: New Years Eve combines political commentary with non-narrative segments that celebrate the medium of video.
“But these meetings, these partings, finally destroy us.”
—Virginia Woolf, The Waves (New York: Harcourt, 1978)
Here, a double morphology of conversion forces us to think about the trance of non-reconciliation, outburst and trance that go through the centuries of colonial violence until reaching us in the tension of an audiovisual disjunction: visible and enuncia
"The gerbil has long been associated with New World capitalism because of its incessant energy. The Golden Age of Hollywood takes on the history and evolution of this delightful household pet."
— International Film Festival Rotterdam (2003)
John Smith’s Flag Mountain records a vast flag, the insignia of the Turkish Republic of Northern Cyprus, painted onto the side of the Kyrenia mountains overlooking Nicosia, the divided capital of the former island nation.
In this piece I am exploring the idea of belonging by tracing the outline of the shifting skyline. Through imagination, learning, and a continuous adjustment, I strive to relate the communal with personal identity.
— Ezra Wube
In the beginning was the weave, and the transmission of its workings, a curse of mortality—so ends Quantum Creole with the fabulous words of the Papel weaver, Zé Interpretador.
The film reexamines J. Robert Oppenheimer's speech at Princeton Theological Seminary in 1958.
Another edition to my weather diary series, this particular one has more social intercourse occurring in the prairie hovel which houses the hidden longings of he who seeks sustenance from the void. The void acts up in the beginning and then simmer
Reflecting upon the figure of “Trickster” in African and Native American culture while recounting the story of his first love, Harris creates a graceful, deeply moving lament for the loss of innocence in a world without magic.
Robert Heineken (1931-2006) used technically sophisticated photographic methods to mingle erotic images with visuals from TV and advertising.
Ten thousand women marched down New York's Fifth Avenue on August 26th, 1970, to mark the fiftieth anniversary of the passage of the 19th amendment, which granted women the right to vote. The march was part of a "Women's Strike for Equality" organized by veteran feminist leader Betty Friedan.
Though the use of fairytales and dark fantasies, these works combine the commonplace with the macabre to construct a new world of the subconscious.
Asian Studs Nightmare examines the racial politics behind the hit U.S. television show STUDS. Fulbeck frantically recalls somewhat fictional nightmares of Asian male identity.
Military Road is a project of visual mapping of the suburban realities of the city of Lisbon in connection to the migrant fluxes to Europe conected to de-colonization and the end of the Portuguese Empire in Africa.
On April 30, 2019, Eiko and Alexis Moh, one of Eiko's collaborators in The Duet Project, visited the Manzanar Historical Site.
I’m not the only one eating my way through this sunny travelette as several other species dig into the goodies too.
In this 2004 interview, Kori Newkirk (b.1970) describes his lifelong apprehension of being rooted in any one place for too long. Asserting that the School of the Art Institute of Chicago was the fifth school he attended in four years, Newkirk begins by describing the fortuitousness of his relocation to Chicago following his expulsion from Cooper Union. Recounting how he fled from the fiber department in favor of painting, Newkirk details how it was a studio visit from Deborah Kass and an exchange program to England that crystallized his burgeoning ideas about “painting without making paintings.”
"It was as if I was living by the Nike slogan Just Do It."
— George Barber
Joan Logue cuts down considerably Andy Warhol’s projection of fifteen minutes of fame, with this compilation of 30-Second Spots.
The town Minot is home to a U.S. Air Force base that guards 150 nuclear missiles buried in northern North Dakota. The weapons of mass destruction placed there 50 years ago are still targeted at Russia.
D.A.R.E. (Drug Abuse Resistance Education) is a hyper-war waged on over 20 million children in the United States. Despite overwhelming evidence of its educational ineffectiveness, D.A.R.E.
Feminist artist Lynda Benglis is known for her sculptures, video performances, paintings, and photography. Her work in the 1970s was controversial, delving into issues of gender roles within and outside the art world.
“Levy's work is both ramified and momentous, addressing environments of many kinds, and filled with stories in which human behavior has played a decisive role.”
In the 1960s and '70s, Hollis Frampton (1936-1984) emerged as one of the most important experimental filmmakers, creating structuralist works such as Zorns Lemma (1970), Poetic Justice (1972), and Nostalgia (1973).
This social satire on total, faceless authority begins with Smith bewildered by forces he doesn’t understand.
This tape was produced by Artists TV Network, documenting a symposium that included composer John Cage, choreographer Merce Cunningham, writer Richard Kostelanetz, and video artist Nam June Paik with art critic Dore
Made using voicemails the Kuchar brothers left on her home answering machine, the artist reveals George and Mike in all their candid honesty leading up to and following George’s untimely death in 2011.
A voyage through a California Christmas that begins in the turd-smeared streets of San Francisco and ends in a botanical wonder of ethnic endurance and faith. A journey that incorporates pelicans, palaces, and platters of plenty.
Rhythmically chewing their meals, a herd of cattle creates interesting shapes, patterns, and movements in this “keyed” (a process of dividing areas of a black and white image into percentages of gradation) and colorized work.
This suite is a set of circular and fragmented compositions, in which a rhythmic and haunted dance hides an eroded lunar landscape. The microscopic rubble of our contemporary civilization. Part of the Lunar Films series.
A holiday video of good cheer and feline ferocity, this annual tradition of videotaped festivities centers on the oriental and occidental tidbits that make the season worthy for bipeds on wheels as they pedal from one calorie laden event to another.
Nascentes Morimur grew out of a series of works on autopsy — an earlier video and a number of still images — that were exhibited together as Like a Shipwreck We Die Going Into Ourselves.
The final film in Friedland’s Movement Exercises trilogy, Trust Exercises is a hybrid experimental dance film which explores the tension between the poetics of group movement and its instrumenta
Using a Super-8 camera, Henricks employs time-lapse photography to document the interior and exterior of his apartment.
This video develops from a real event that took place during a theater seminar in the masters degree program at the University of Antioquia in Medellín, Columbia. The seminar occurred during one of the university's worst periods of violence.
Using “found” imagery shot in a SoHo playground, the first part of the Damnation of Faust trilogy explores the possible relations between childhood play and a woman looking on from outside.
Vanessa is based on the untimely death of Vanessa Jordan. A work about loss and Michelangelo.
On May 11 2004, Steve Kurtz phoned 911 to report Hope, his wife of 20 years, was unresponsive. When paramedics came to his house, one of them noticed that Kurtz had laboratory equipment, which he used in his art exhibits.
Furthering the Animal Charm mission to undermine normality and create new stories from old, the videotapes in this collection seek to reinterpret and/or disrupt the flow of found footage narrative.
In turns funny, disturbing, and glisteningly sensual, small lies, Big Truth is a tape about love, relationships, and the joy and banality of sex in the late 20th Century. It also touches on such issues as morality, voyeurism, nature vs.
Acconci sits with a man and a woman before a microphone. The man and the woman read from two different texts (novels by Mickey Spillane and Raymond Chandler), and Acconci repeats everything the man says.
This is a story of friendship between two independent female artists and their body memories each willingly carry.
At the age of twenty-four, Taiwanese artist Tehching Hsieh (b.1950), moved to New York, where he has created and documented time-specific, conceptual art performances since the 1970s. In this interview, Hsieh discusses his formative years and philosophical moorings. This dialogue includes description of the artist’s early period of painting, his military service in Taiwan, and the cultural atmosphere of a country then undergoing massive political change. Much of the discussion focuses specifically on Hsieh’s understanding of the relationship of art and life, his investment in “free thinking,” and the politics of documentation. For Hsieh, the ability to think freely is art’s bottom line—he believes the essence of his work lies in human communication. To this end, Hsieh insists that his work, though incredibly personal, is not autobiographical, but philosophical.
Part of the paraconsistent sequence series.