John Cage’s compositions and performances have had a profound influence on generations of musicians and artists. In this tape, he initiates For the Third Time as author Richard Kostelanetz interviews him. “I’ve left the punctuation out, but I’ve distributed it by chance operations on the page, like an explosion,” Cage says. “You can replace the punctuation where you wish.”
The first video work created collaboratively with DonChristian Jones as a part of Eiko's The Duet Project: Distance is Malleable. The video was projected as part of The Value of Sanctuary: Building a House Without Walls exhibition at The Cathedral of St. John the Divine in 2019.
Performed by Eiko Otake and DonChristian.
Camera by DonChristian Jones, Inci Eviner, Merián Soto.
Edited by Eiko Otake.
Created during the 2017 Rauschenberg Residency for The Duet Project.
"A chamber drama set in the confines of an apartment’s sun room, this video further explores visual themes and obsessions found in my earlier works and adds in a few new ones for good measure. Earlier motifs seen here are lightbulbs in pendulum movement, tabletop antics with simple household objects, Christo-like fleshy textures, sketchbook pages torn from their binders, book pages, bookshelves, and flowers. I play a vaguely Walter Mitty-ish figure, who imagines himself as a conductor, as Orpheus, and as conflicted characters in a Greta Garbo movie.
Between the Frames is a series that offers a glimpse into contemporary history that is already past, a portrait of personalities and opinions shaping what and how art reaches a public forum.
The Dealers: Between the Frames, Chapter 1 and The Galleries: Between the Frames, Chapter 3
In Glennda and Bruce Do Times Square, Glennda is taken on a night tour of Times Square by author Bruce Benderson. They observe the dynamic between forms of culture that would typically be identified as “underclass” in “suburbanite” culture within the economic and spatial landscape of New York City. Glennda and Bruce visit the apartment of performer Consuela Cosmetic, who was prolific within New York’s ball scene. She maps out the ways in which she believes gender can be expressed, and discusses the implications of ‘passing’.
In these seven short video performances directed by Isaac Artenstein, Gómez-Peña confronts Mexican-American culture clashes, stereotypes, and the Fourth World (immigrants). Speaking through a bullhorn or on the airwaves of mock-station Radio Latino FM, he broadcasts a message that will not be silenced.
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. Produced in conjunction with her retrospective at the High Museum of Art in Atlanta, Dual Natures provides an introduction to Benglis’s work and includes excerpts from her videos of the mid-’70s and footage of the artist at work.
"Newly hand-built digital video A to D and D to A with ALU bit flipping. Controlled by an ELF II computer. The image brightness changes also controlled analog synthesizer parameters of the live flute playing. I sat in the camera image zone and played along with the programmed staccato picture and sound shifts. David Jones, digital video design."
– Peer Bode
Presenting a series of flashcards to the camera, Baldessari continues his exploration of visual semantics, defining the intersection of language and image. In this instance, each flashcard bears a picture that represents a letter of the alphabet. Like Teaching a Plant the Alphabet, a secondary theme of Xylophone is a critique of learning as memorization, with the length of the tape producing—not surprisingly—an effect of boredom rather than insight.
This title was in the original Castelli-Sonnabend video art collection.
My teaching assistant during the spring semester (Marc Rokoff) at the San Francisco Art Institute began shooting a documentary of me and the students making our sci-fi drama, The Planet of the Vamps. Three years later it remained unfinished as he felt inadequate as a documentarian, and so I was offered the box of tapes to edit. I took on the task and the result is a lively record of the production class in action as it tackles the teleplay with a minuscule budget and scanty costuming.
"Ever on the lookout for learning opportunities, Reinke envisions an art institute where you don’t have to make anything, and with a library full of books glued together. All the information’s there—you just don’t have to bother reading it!"
—New York Video Festival (2002)
On December 8, 1984, Linda Montano began a 7-year performance titled 7 Years of Living Art, based on the seven Hindu chakras, and performed public and private vows and tests of personal endurance. Upon completing the project, Montano began again and titled the new work Fourteen Years of Living Art. During that time she composed and performed CHAKRAPHONICS, a sonic experience for the chakras. This video can be used as a guide to meditation on the chakras.
On the narrow stairway that exits Paul Kos’s Tunnel\Chapel, where his 27-channel Chartres Bleu installation is housed, Kos writes with both hands on opposite walls, recording the narrative of Noah’s Ark.
This title is also available on Sympathetic Vibrations: The Videoworks of Paul Kos.
This sprawling drama about a group of country folk sucked into the fashion world of magazine layouts and romantic intrigue features a cast of glamorously garbed gals and good-natured bumpkins. Produced in collaboration with his students at the San Francisco Art Institute, the picture delivers high-octane antics fueled by the $800 budget and creative desperation typically inherent in these types of endeavors. The cast is large and labors valiantly with the high speed shooting schedule and color saturated subplots.
Mr. Thomas is in the back garden, performing his new moves in the glorious sunlight, making things happen. Somewhere between ritual, a white suburban war dance and 1970's "keep fit" exercise to lovely music, Mr. Thomas tries to coordinate with the Black Blob, that persistently undermines the nature of his representational space...
And the song goes:
We've only just begun to live
White lace and promises
A kiss for luck and we're on our way...
Performance engineers Survival Research Laboratories (SRL) construct machines that live in their own fictional world, acting out scenarios of perpetual torment, exasperated consumption, and tragic recognition. This film presents a fractured narrative featuring these large anthropomorphic robots and represents Jonathan Reiss and SRL’s collaborative desire to go beyond the restraints of event documentation.
I just got this tattoo — you can see it's still healing, the edges are raised like some sort of fancy business card — to mark the completion of this, Series One of my on-going project, Final Thoughts. So, on one wrist, facing fistward, a skull and, on the other, still tender and healing, a ghost. Let them be the mascots for the series, little cartoony avatars.
"A major influence for generating ideas for me was not what I could contrive on my desktop, but being open and receptive to “accident”. For instance, one evening in 1972 while typing a syllabus for a class on my old Smith Corona typewriter, I happened to see on the TV a documentary by Leni Riefenstahl. German troops were marching, and I found that I could duplicate the “ta ta tum, ta ta tum, ta ta tum tum tum” of the drumbeat by typing “mar mar march mar mar march.“ Had not the broadcast of this film taken place while I was typing, I would never have thought of this concept.
Part of an ongoing video correspondence with sculptor Robert Morris, Mumble brings together repeated scenes and gestures, featuring Morris and Jim Benglis (the artist's brother), and a narrative of irrelevant, confusing, and often purposefully untrue, statements. Although the viewer is inclined to accept Benglis's narrative as true, such trust is called into question by her statements about actions taking place off-camera — actions that cannot be verified.
giroscopio is a short experimental film by two artists, one in Pennsylvania and one in Puerto Rico, each in pandemic lockdown, each disoriented. Objects seem to control them; their bodies are unbalanced, unwieldy, comical. The horizon spins; the ground falls away; and yet a strange wonder reigns. / giroscopio es un cortometraje experimental de dos artistas, uno en Pensilvania y otro en Puerto Rico, cada uno en confinamiento por la pandemia, cada uno desorientado. Los objetos parecen controlarlos; sus cuerpos son desequilibrados, difíciles de manejar, cómicos.
Made with Stanton Kaye, and the only Lynda Benglis video with a discernible plot, The Amazing Bow-Wow follows the adventures of a talking, hermaphroditic dog given to Rexina and Babu by a carnival barker. Rexina and Babu soon decide to make the dog a sideshow act hoping to earn their fortune. Babu eventually becomes jealous of Rexina's devotion to the dog and one night attempts to castrate it, accidentally cutting off its tongue. The dog's head becomes hideous and skeletal, ruining its sideshow career and the profits.
Threads of Belonging depicts the daily life of Layton House, a fictional therapeutic community, where doctors live with their schizophrenic patients. The characters and events of Layton House were drawn from writings of the anti-psychiatry movement, whose most famous proponent was R.D. Laing. In this film we see experimental therapies, power struggles, and the individual arcs of mental illness converge, as a community struggles to understand itself and determine its destiny.
The first video of the installation Touch Parade, which as a whole explores “plastic love” or fetish culture and the assimilation of marginalized sexuality on the internet. In questioning what is an explicit and/or illicit image, fetishes found on YouTube that consist of banal gestures, are re-performed. Unlike other pornographic content, these videos evade censoring because they are not culturally recognized as representations of sexuality.
Eiko & Koma's second son Shin Otake created this video for the occasion of the 2004 American Dance Festival Scripps Award ceremony. Shin edited and narrated the video to convey Eiko & Koma's history and the concepts behind their works.
Klaus Nomi (born Klaus Sperber) was an underground superstar in the East Village arts scene in the 1970s and early 1980s. Known for his dramatic attire and make-up, and his theatrical stage presence, Nomi was a countertenor and could achieve a wide vocal range, allowing him to include operatic embellishments to his musical numbers. He died in 1983 and was one of the earliest artists to die from AIDS.
