They just flew in from New York, and boy, are their arms tired... Out in the Nevada desert, against the windblown backdrop of Air Force bomber training sites, artists Hajoe Moderegger and Franziska Lamprecht - better known as eteam - gathered testimonials of stranded passengers, crew members, and local residents to recall an episode in the lost annals of American aviation: the 2006 "unscheduled layover" at International Airport Montello (IAM). Truth in Transit reaches beyond simple documentation.
Transient Trilogy comes close to "being a real film, with an actor, a setting and something of a narrative scheme. Ruby himself plays a bum, who transits a marginal landscape, neither nature nor manmade, where he occupies himself crafting what can only be called artworks from string, cast-offs and other bits of trash." --Walter Robinson, Editor, Artnet Magazine
Reportedly shot in the back office at Leo Castelli’s New York gallery, an ashtray is used to demonstrate five different actions related to artistic work. With the camera static, the video opens with the ashtray in the center of the screen. A hand approaches from above and slides the object up and down, then back up and back down. Each time an act is completed, the hand retreats from the object, marking a separation from the next “possibility.” The actions (or movements) mimic language (e.g. “to and fro”) as it is spoken.
In a vile and ingenious way, Acconci pleads with the camera/spectator to join with him, to come to him, promising to be honest and begging, "I need it, you need it, c'mon... look how easy it is." Acconci addresses the viewer as a sexual partner, acting as if no distance existed between them.In a vile and ingenious way, Acconci pleads with the camera/spectator to join with him, to come to him, promising to be honest and begging, "I need it, you need it, c'mon... look how easy it is." Acconci addresses the viewer as a sexual partner, acting as if no distance existed between them.
Letting go of realist constraints, and going back to the mirror-images of some of Provost’s famous previous works, we are diving into a cosmic ocean of ever metamorphosing baroque circumvolutions in which our minds try to capture reassuring forms before letting the ghostly demons blur our vision.
From an inverted position, high above the floor, the camera records Nauman’s trek back and forth and across the studio; his stamping creates a generative rhythm reminiscent of native drum beats or primitive dance rituals. However, Nauman is not participating in a social rite or communal ritual—he is icompletely individualized. Isolated in his studio, his actions have no apparent reason or cause beyond his aesthetic practice.
This title was in the original Castelli-Sonnabend video art collection.
Sphinxes Without Secrets is an energetic and transgressive acount of outstanding female performance artists, and an invaluable document of feminist avant-garde work of the 70s and 80s. No Mona Lisa smiles here, as performance artists spill their guts about what outrages and delights them. Performers, curators, and critics unravel the mysteries of a new art form and ponder the world women confront today. Since its inception, performance art has provided a forum for artists who create work that challenges the dominant aesthetic and cultural status quo.
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.
There are times when concurrent multiple realities of place demand at least a simple attempt to determine who in fact has and where is this place in the sun. Hearts and Helicopters occurs at that moment in the lives of four people.
“A spoof on current art attitudes [that] stretches the definition of what can be considered art. Because the late 1960s and early 1970s were periods of innovation, using the human body as art, making process equivalent to product... [etc.], Baldessari questions that very sense of originality and exploration by taking it to its (rather mundane) limits. By taping a stick at one end, then picking it up at the other, he is both questioning and spoofing what constitutes art.” —Marcia Tucker, “John Baldessari: Pursuing the Unpredictable,” John Baldessari (New York: New Museum, 1981)
Acconci explodes the notion of an artist’s creation, his creative act being the build-up and discharge of saliva, an activity more properly belonging to the realm of necessary and autonomic bodily functions than art. Positioning himself as a hyper self-conscious artistic subject, Acconci fuses the terrains of body art and process art, formulating the body as process, and art as a natural function of the body. This title was in the original Castelli-Sonnabend video art collection.