2001 Colours Andy Never Thought Of transforms Warhol’s infamous screen prints of Marilyn Monroe through a process of color manipulation. The viewer witnesses a flurry of changing tones, colors, and shades in a postmodern nod to the scratch genre that Barber came to define.
The Baroness Elsa von Freytag-Loringhoven né Plotz, was an unsung member of the Dada Movement. A poet, artist, runaway, and all around public provocateur; she actively did not fit into her historical moment, and like most misfits, suffered for it. As with many women artists throughout history, her cultural legacy has been obscured and in some instances appropriated into the oeuvres of better known male peers.
Partially Buried explores a web of genealogical traces. In this work the artist probes the notion of sites of memory as well as site-specific work by focusing on the location of Kent, Ohio. Partially Buried references the year 1970 during which the artist Robert Smithson produced his site-specific work, Partially Buried Woodshed at Kent State University. By chance the mother of the child in the video was present also in Kent State in May of that year, studying experimental music. In May of 1970, four students were shot while attending a rally protesting the U.S.
In 1975, the Feminist Studio Workshop (I was a member) at the Woman’s Building in LA, the Women’s Interart Center in New York City, and another feminist organization in Washington DC, attempted to set up a video exchange among feminist art organizations. This was the first videoletter on our end. I don’t know if another one was ever made.
The videoletter is a tour of the Woman’s Building. Pam McDonald, with microphone in hand, another workshop member, and myself, served as guides through the building. It was shot with a black and white video portopack.
Adapted, quite loosely, from interviews with the composer Karlheinz Stockhausen in the late 60s and early 70s.
Note: This title is intended by the artist to be viewed in High Definition. While DVD format is available to enable accessibility, VDB recommends presentation on Blu-ray or HD digital file.
In a radical action like Nam June Paik destroying a violin, and rolling up in bandages the bodies of the players in in a concert by Yoko Ono, the international avant-garde group Fluxus changed not only art, but the concept of it.
“Nobody likes you if they think you’re rude- you better act the way you should.” But we didn’t.
Telling it the way it was lived, Susan Mogul’s short film captures the energy, passion and radical spirit of the Los Angeles Woman’s Building (1973-1991), a groundbreaking center for women’s culture.
The seventh in a series of cross-cultural symposia organized by Lucy Lippard, the four artists interviewed here–visual anthropologist Wendi Starr-Brown, Hapa video and performance artist Kip Fulbeck, Japanese-American artist Dorothy Imagire, Chicana mixed-media artist Yolanda López–address the role of mixed-race identity in their work. Moderated by Corissa Schweitz Gold.
The word-based art and performances crafted by world-renowned artist Alison Knowles (b.1933) are central to the 1960s international Fluxus movement and its enduring legacy. Describing her experience as a student at Pratt University in the 1950s where she learned from Richard Lindner and Adolf Gottlieb, Knowles recalls her transition from Abstract Expressionist painting to the chance operations initiated by John Cage and Bertolt Brecht.
"how looking at what has become the skeletons of photographs is a visual lecture on aesthetic pleasure or emotion. and how being, almost entirely denied of this pleasure, or having the pleasure merely suggested induces a viewer to ruminate on the act of viewing and that of wanting to view. and maybe it is evolution which causes this anxiety and art form."
The third in a series of cross-cultural symposia organized by Lucy Lippard, the four artists interviewed here—Jean Lamar, Hung Liu, Lorna Simpson, and Kathy Vargas—discuss their work and its cultural contexts. Moderated by Lucy Lippard.
In this rare and humorous record of the art dialogue of the late 1960s, Holt and "guest" Robert Smithson assume opposing artistic viewpoints: the uptight, intellectual New Yorker versus the laid-back Californian. Their play-acting lays bare the cliches and stereotypes of a "bi-coastal" art world. While Holt stresses analytic, systematic thinking, Smithson represents the polar opposite, privileging visceral experience and instinct, saying, "I never read books; I just go out and look at the clouds." and "Why don't you stop thinking and start feeling?"
This video features California artists: drawer and painter Deanne Belinoff, sculptor and poet Sana Krusoe, wood relief carver and painter Palema Holmes, and New York-based video artist Shirley Clarke.
The Artists: Part 1 was produced in concert with the exhibition Four Solo Exhibitions at the Long Beach Museum of Art in 1988. The artists are introduced by LBMA’s senior curator Josine Ianco-Starrels. The video presents and contrasts the diverse styles, media, and personalities of these four women artists.
Shot in the style of a silent film from the 1920s, Frida & Anita is a political fantasy, intersecting the lives of two queer radicals — Frida Kahlo and Anita Berber — who happen to meet one fateful Berlin night in 1924 at the infamous La Garcon Cabaret.
Videofreex documentation from October 9th, 1971 of a crowd celebrating the opening of the Yoko Ono retrospective exhibition, This Is Not Here, at the Everson Musem of Art in Syracuse, NY. The Videofreex document Yoko Ono’s plane landing and her getting on a bus to go to the exhibition at the Everson Museum. Once at the exhibition, we find a man inside bathing in a bathtub, who is then forced to exit by a museum official.
Return of the Black Tower was conceived as a 'response' film to John Smith's 1987 classic short experimental film, The Black Tower.
"Barmy, baffling and weirdly funny,... an elliptical, satirical examination of contemporary belief, as much as it is about the problem of art as an incommensurate, incommunicable experience."
— JJ Charlesworth, Time Out London
This title documents the participation of artist Aldo Tambellini at the opening of the 1970 exhibition Vision and Televison. Held at the Rose Art Museum of Brandeis University in Waltham, Massachusetts from January 21st to February 22nd, the exhibition is widely regarded as the first museum exhibition of artist's video. Tambellini (b. 1930) was a pioneer of expanded media in the 1960s, and one of the first artists to use video and television as a medium.
The title is comprised of the following Videofreex reels:
Lars Movin presents a video portrait of artists who have radically disrupted our conception of art since the 1960s. A large part of the video was made in Venice in 1990, when many of the original Fluxus artists met to hold a large exhibition in connection with the Biennale. The tape includes interviews with most of the leading Fluxus artists, documentation of their works, and clips from videos and films made during the 30 years of this ungovernable art form.
The second in a series of cross-cultural symposia organized by Lucy Lippard, the four artists interviewed here—Jolene Rickard, Robbie McCauley, Judy Baca, and May Sun—discuss their work and its cultural contexts. Moderated by Lucy Lippard.
In 1971, graduate student Gloria Orenstein receives a call from surrealist artist Leonora Carrington that sparks a lifelong journey into art, ecofeminism, and shamanism. A wife and mother of two writing her dissertation for New York University, Orenstein never expects to have her life transformed through female friendship.
1933. Berlin. The last year of the Wiemar Republic. Through the lense of her personal "home movies", Leni Riefenstahl records a day in her life with a young Eva Braun.
Die Neue Frau is the third film in the The Surface Tension Trilogy, a three-part short film trilogy looking at queer artists living in Berlin during the 1920s. Shot on hand-processed 16mm film.
The secret history of hobo and railworker graffiti. Shot on freight trips across the western US over a period of 16 years, Who is Bozo Texino? chronicles the search for the source of a ubiquitous rail graffiti--a simple sketch of a character with an infinity-shaped hat and the scrawled moniker, "Bozo Texino"--a drawing seen on railcars for over 80 years.
This short piece introduces the visual artist German Bobe. A narrator explains Bobe’s background in various media, stressing that his work—the media he chooses and the themes he revisits—presents a synthesis of the concerns of his generation.
In Spanish.
Alphabetically Sorted is a scrolling list of 644 keywords downloaded from CompuServe and spoken by “Victoria: High Quality,” a speech synthesis program.
This title is only available on e-(d)entity.
A series of numbers that form infamous years that are uttered in a repetitive pedagogical litany. Ominous dates as a correlate of forgotten apolitical portraits. Portraits of a remembered royalty whose wealth was made possible by infamous times. Political faces accompanied by their corresponding dates. Peaceful figures whose placid portrait rests on the automated civilizational barbarism. This is part of the educational film cycle.
