1! is part of the Pop Manifestos series, a five video project realized in collaboration with Cokes' former students Seth Price and Damian Kulash, and originally conceived as part of a series for the conceptual band SWIPE. “I closed the Pop Manifestos series as originally conceived with 1! (2004) where I present the titles of 100 CDs I've valued most from the years 1997-2002 set to music composed by Michael Bell-Smith.
2@ is part of the Pop Manifestos series, a five-video project realized in collaboration with Cokes' former students Seth Price and Damian Kulash, and originally conceived as part of a series for the conceptual band SWIPE.
3# is part of the Pop Manifestos series, a five video project realized in collaboration with Cokes' former students Seth Price and Damian Kulash, and originally conceived as part of a series for the conceptual band SWIPE.
Joan Logue cuts down considerably Andy Warhol’s projection of fifteen minutes of fame, with this compilation of 30-Second Spots. Produced to be broadcast as individual, mini-documentaries on the included artists and their work, Logue’s short interpretive video pieces feature a prime time selection of over twenty New York performance artists, composers, dancers and writers, including Maryanne Amacher, Robert Ashley, David Behrman, John Cage, Lucinda Childs, Douglas Ewart, Simone Forti, Jon Gibson, Philip Glass, Spalding Gray, Joan Jonas, Bill T.
5% is a ten-minute work that questions the cult of pop stardom, deconstructs music industry practices, considers the problematics of live performance, and suggests other, more anonymous working strategies.
6^ is part of the Pop Manifestos series, a five video project realized in collaboration with Cokes' former students Seth Price and Damian Kulash, and originally conceived as part of a series for the conceptual band SWIPE.
"Ad Vice consists of a succession of colored projection surfaces with segments of text from the worlds of advertising, sport and popular culture. These projection surfaces in turn alternate with images of a rock band whose music continuously frames the whole. As regards form and content, the video looks like a commercial, an advertising spot for SWIPE country. The fast changing images, the continual music, and the starting and ending credits refer to it. The viewer is greeted with the words: welcome to SWIPE country... enjoy the sound... make contact...
This music video for the band Julie Ruin, fronted by Kathleen Hanna, formerly of Bikini Kill, critiques the cynical music marketeers of corporate America. Criticism particularly targets campaigns aimed at women, which Benning and Hanna refer to here as the "Girls Rule (kind of) Strategy."
amaurosis is an experimental documentary about Dat Nguyen, a blind guitarist living in Little Saigon, Orange County, California. Dat Nguyen was a "triple outcast": blind, Amerasian, and an impoverished orphan. His American father left Viet Nam in 1973, and his mother died in 1975. Living on the streets of Saigon, he sold lottery tickets for food money. At the age of 12, Dat met a classical music teacher who was also blind and who taught him to read Braille as well as supported him.
Laurie Anderson (b. 1947) began her career as a gallery artist specializing in photography, before moving to critical work as a writer for Art News and Art in America. She later returned to the art world, making groundbreaking multimedia performance art. Her most widely known work dates back to the early-to-mid-’80s, and is marked by an innovative use of technology in blending media-based and staged performance.
Laurie Anderson is perhaps best known as a performance artist who works in both the art and commercial worlds. Anderson talks to Steven Poser through a voice manipulator, commenting on how performing abroad has informed her work and her perspective on American culture, especially regarding issues of language and voice in communication.
This video was produced for the Artists TV Network series Conversations.
A musical portrait of Vic Chesnutt and company recording the song, CHAIN.
The piece was shot during the recording session for the album, At the Cut, at the Hotel2Tango studio in Montreal, and features appearances by musicians including Efrim Menuck, Guy Picciotto, Jessica Moss, and Chad Jones. CHAIN was written by Chesnutt after viewing Cohen's feature film of that name.
Contemporary American composer and performance artist Robert Ashley (1930-2014) was a pioneer in the development of large-scale, collaborative performance works and new uses of language in operas and recordings. His landmark project, Perfect Lives, was opera produced for television in seven half-hour episodes.
In Bataille, fragments from the Akira Kurosawa’s film Rashomon are subject to a mirror effect. A scene in which two samurai fight each other becomes a cosmic field of monsters where horror and pain evoke beauty and joy.
Because of the War things were changing. Very few toys or games were left and music was almost over. Tap water was tasting female and television only came in nasty spasms…
A surreal and sometimes comic meditation on how war affects the hopes and dreams of ordinary people.
"I, Soldier is the first part of a video series in which I am dealing with the state-controlled ceremonies for the national days of the Turkish Republic. The nationalistic attributes attached to these large-scale ceremonies are underlined in a non-descriptive and almost voyeuristic point of view. I, Soldier was shot at the National Day for Youth and Sports; the day that marks the start of the independence war of the Turkish public under the leadership of Mustafa Kemal Atatürk, against the Allied Forces back in 1919.
Martin Sorrondeguy, former vocalist for Los Crudos, produced this powerful and uplifting documentary about the U.S. Latino punk scene and the DIY movement. The video features live performances by bands, including Huasinpungo, Los Crudos, Subsistencia, Sbitch, and many more.
This video is part of the 5 Video Hits series.
This piece still seems relevant to me somehow, perhaps because its main characters remain titans in the entertainment industry. But what of Janet Jackson, off-screen then and now?
"Blight was made in collaboration with composer Jocelyn Pook. It revolves around the building of the M11 Link Road in East London, which provoked a long and bitter campaign by local residents to protect their homes from demolition. Until 1994, when our houses were destroyed, both the composer and I lived on the route of this road. The images in the film are a selective record of some of the changes which occurred in the area over a two-year period, from the demolition of houses through to the start of motorway building work.
Commissioned to be a "promo" for a loud punk rock band, Mr. Kuchar feared that the noise the band made would spoil the mood of his visuals, so he used the sound of a lush orchestra to score the picture and the antics.
DIRECTOR’S STATEMENT/SUMMARY: This film centers around one performance, when Holland-based musicians, The Ex, visited New York to play a concert. This performance is intercut with city scenes, first from Amsterdam and then New York, of construction sites, street life, and protests against the Iraq war and the Bush administration. The construction site scenes relate to the band's dedication to music as a realm for collaborative building and creative destruction.
A glittering, Las Vegas-inspired music video for John Sex’s song "Bump and Grind It". With an outrageous fountain hairdo (by stylist Danilo), Sex sings his catchy pop lyrics, “You gotta put your love behind it/Bump, bump, bump and grind it.” Featuring the Bodacious Ta-Tas and inter-cut with Vegas showgirl footage.
This title is also available on Tom Rubnitz Videoworks: Sexy, Wiggy, Desserty.
Contains Videofreex tapes Buzzy and the Flute, Buzzy at the Gaslight, Buzzy at the Videofreex Loft, Buzzy Linhart at the Record Plant
This tape includes a mix of content featuring songwriter and recording artist, Buzzy Linhart and his band
John Cage’s work has had an immeasurable influence on 20th Century music and art, and his formal and technological innovations were tied to his desire to push the boundaries of the art world. In 1951 he initiated the first recording on magnetic tape, and in 1952 he staged a theatrical event that is considered the first Happening. His invention of the prepared piano and his work with percussion instruments led him to imagine and explore many unique and fascinating ways of structuring the temporal dimension of music.