Re-Animation 3,4, & 2 are short animations created by looping images of dead insects taken from the artist’s own amateur entomological collections. Each frame of video within a loop is an image of a separate insect in its own distinct contortion. The variety of contortions, coupled with the similarity between insects of the same species, creates the stop motion movement of an individual insect in the final video.
A grinding mortar and pestle vignette analogously describes the evolution of digital resolution; from a single color to a high definition image to an infinite splitting of that image back into the pixels themselves.
This title is only available on Suitable Video, Volume 1.
Respite consists of silent black-and-white films shot at Westerbork, a Dutch refugee camp established in 1939 for Jews fleeing Germany. In 1942, after the occupation of Holland, its function was reversed by the Nazis and it became a 'transit camp.' In 1944, the camp commander commissioned a film, shot by a photographer, Rudolph Breslauer.
Originating from personal affection toward Seoul, Twelve Scenes portrays the spectacles in daily life by juxtaposing urban space in a twelve month sequence. As the individual particles in a kaleidoscope create splendid illusions by being reflected on a mirror, Twelve Scenes shows our individual life, seemingly separated by time and space, actually composes the scenery in the kaleidoscope of Seoul. Twelve Scenes represents a 'moment for self-reflection' or 'small, but precious enlightenment on life'.
Within the historic district of Saida, Lebanon, a boy learns to capture light.
Cast: Husni Tutunji
Camera: Abdallah al-Bunni
Pat Ward Williams’s socially charged works confront issues of race, often dealing specifically with African American history and identity. Using a variety of photographic processes, video, audio tapes, assemblage and text, Williams layers meanings and images. Her subjects range from the autobiographical to the public, often combining documentary techniques with personal responses. “When I make photos about my family, I think my family is not a lot different than other peoples’ families, so that is a way people can access my work...
A Walk with Nigel is a video essay that constructs a dialogue between two artists from two different times, between movement and stillness, between speech and silence. An archaeological study of a community, reawakening the archive in the present. A materialist study of streets and social relations.
A series of portraits either stroked on canvas or snapped on photo emulsions becomes the theme of this travelette as the viewer relives the visions that confronted me during a hop and skip excursion over state lines and bodily curvatures.
Laurie Simmons’s photographs are brought to life in Laurie Simmons: A Teaser, MICA-TV’s portrait of the acclaimed photographer. In the early 1980s, Simmons focused on underwater photographs of women, which suggested the stylized tableaux of Esther Williams’s water ballets. Taping through a glass window in the bottom of a swimming pool, Michael Owen and Carole Ann Klonarides recorded Simmons while she was shooting her models.
Juan Sanchez explores his Puerto Rican heritage and the issue of Puerto Rican independence through his work as an artist and writer. Combining painting, photography, collage, and printmaking techniques, Sanchez’s art joins images of contemporary barrio life with memories of Puerto Rico, and addresses a fragmented Latino community fraught with political resistance and cultural alienation.
Interview by Bibiana Suarez.
A historical interview originally recorded in 1990.
Horace Bristol discusses his long career in photography, which began with shooting for Life and Fortune magazines in the 1930s. His photojournalism took him to the Dutch East Indies and post-war Japan. His documents of Depression-era workers famously inspired John Steinbeck to write the classic The Grapes of Wrath. “I felt I was not an artist but a worker, so as a photojournalist, I had a job to do,” Bristol says.
Produced by the Fellows of Contemporary Art on artists exhibiting in a Pasadena Armory exhibition.
Robert Cumming (b. 1943) is an American photographer/sculptor/bookmaker who borrows from the artifice of theatrical sets to construct his elaborate and often absurd images. He has also published several books of photography and narration. Central to his work is his desire to remind us that we are looking at a photograph, and not at the thing being photographed. His captions sometimes draw on a photograph's narrative aspects or are used to mislead the viewer.
Opening with jarring violence, Dani Leventhal's Tin Pressed proceeds to negotiate a balancing act between the bewildering tonal variances of daily life — with all of its unnameable and enchantingly fragmented specifics — and the gravitational urge to construct both private and shared narratives. The world discovered through these images revolves around multiple centers. The camera's odd equanimity feels both generous and dangerous. Leventhal's deft oscillation between elision and inclusion reveals a brief but vast taxonomy of beauty, peace, longing and terror.
Within the historic district of Saida, Lebanon, a boy learns to capture light.
Cast: Husni Tutunji
Camera: Abdallah al-Bunni
Petrolia takes its name from a redundant oil-drilling platform set in the Cromarty Firth, Scotland. The film looks at the architecture of the oil industry along the Scottish coastline where oil and gas supplies are predicted to run dry in the next forty years.
Founded in 1997, the Arab Image Foundation preserves the legacy and collection of photographer Hashem el Madani and the Sheherazade photo studio.
Using a Super-8 camera, Henricks employs time-lapse photography to document the interior and exterior of his apartment. Inspired by the work of Virginia Woolf, Time Passes uses writing as a metaphor for notions of temporality and impermanence.
This title is also available on Nelson Henricks Videoworks: Volume 2.
Locke’s Way is the photographic path to knowledge, full of twists and turns, treacherously steep. What has happened down here? A family’s photographs tell us everything and nothing about the subterranean past. "One of the central questions of philosophy has always been: what can be known? Locke’s Way provides a vivid illustration of this perennial philosophical dilemma. In this short video, Donigan Cumming is preoccupied with the story of his older brother, who seems to have been brain-damaged and spent much of his life in institutions.
From his photo-text canvases in the 1960s to his video works in the 1970s to his installations in the 1980s, John Baldessari’s (b.1931) varied work has been seminal in the field of conceptual art. Integrating semiology and mass media imagery, he employed such strategies as appropriation, deconstruction, decontextualization, sequentiality, and text/image juxtaposition. With an ironic wit, Baldessari's work considers the gathering, sorting, and reorganizing of information.
How Little We Know of Our Neighbours is an experimental documentary about Britain's Mass Observation Movement and its relationship to contemporary issues regarding surveillance, public self-disclosure, and privacy. At its center is a look at the multiple roles cameras have played in public space, starting in the 1880's, when the introduction of the hand-held camera brought photography out of the studio and into the street. For the first time one could be photographed casually in public without knowledge or consent.
Richard Prince appropriates images from commercial advertising and travelogues for his photographs. Choosing these images for their melodramatic, super-real power, he then isolates their stylistic realism to accentuate its rhetoric. In this portrait/performance, Prince narrates experiences that demonstrate his extreme sensitivity to appearances and context. He relates the event of buying his first car as the imprinting of a certain aesthetic impression.
This title is also available on Crossover Series.
Taking the idea of loss and dispossession as a starting point, this second reflection on photography and its people looks at the individual’s position within the context of war and how photographs become the sole record of that displacement, at the risk of them being dispersed as well.
On Photography People and Modern Times is the outcome of three years of research on photography conducted by the artist in Lebanon, Jordan and Egypt during the founding years of the Arab Image Foundation (AIF).
Shot in Lebanon, Syria and Jordan, this essay uses transportation, video, and photography to examine images circulating in a historically charged, and presently war-torn and divided, Middle East. From images of camels in the desert to images of the Arab-Israeli conflict, the video looks at states of mind in relation to actual geographies. The video pays tribute to an unformatted and open-ended documentary approach, and examines modes of access to information such as travel, television and the Internet, while carefully displaying the resulting iconography.
West coast artists, Mike Mandel (b.1950) and Larry Sultan (1946-2009) became artistic collaborators in 1972 while both enrolled in the San Francisco Art Institute’s MFA program. This interview captures the duo’s camaraderie (look closely, they are wearing matching shirts!) and youthful optimism as they describe the impetus behind their California billboard installations of the early seventies.
