Shot by Mary Curtis Ratclif at the O.K. Harris Gallery on Prince and Green Streets, New York, this tape focuses on performer “Ricky Jay” as he performs card tricks at his magic table for an enthusiastic audience.
"The human ear. A gatherer of energy. A gatherer of sound. RPMs and BPMs. Satellites go up to the sky."
In the video Satellite, Nelson Henricks combines found footage and techno beats to question western society's ongoing obsession with science, technology and the future. Juxtaposing images derived from old educational films with absurd, aphoristic slogans, Henricks offers up a witty, entertaining and provocative commentary of our need to make sense of everything, at any cost.
In this spoof program produced for Lanesville TV, the premise is that a “Sheik” has come to buy all the land in Lanesville. Videofreex member Carol Vontobel reports that the sheik (Davidson Gigliotti), escorted by his real estate agent (Parry Teasdale) is approaching people in the community and asking to buy their homes. An unknown Lanesville local chauffeurs them around, and the Videofreex interview Mr. Benjamin, Mr. And Mrs. Kelly, Mr. Lloyd, Mr. and Mrs. Ginsburg, and others from the Tavern.
For the past 20 years Alexis Smith's mixed media work has explored primal American myths: the open road, the bad/good guy/gal, the quest for romance, and the search for paradise. This portrait of the artist explores the roots of her thought and work, and was produced in conjunction with her exhibition at the Whitney Museum of American Art, held in November 1991.
Smothering Dreams is a tough, scathing condemnation of war and our country's fascination with violence. Reeves draws on his own experience as a U.S. Marine in Vietnam in the 1960s, juxtaposing actual combat footage, staged war games, and child’s war play to make his message horrifyingly clear. This work is dedicated to the men of the 3rd Platoon Company A 1st Amtrac Battalion and the North Vietnamese soldiers who died on January 20, 1969 along the Cua Viet River.
Art Spiegelman was born and raised in New York, and began working as a cartoonist while still in High School. He attended the State University of New York in Binghamton, where he studied Philosophy. Spiegelman, who continued to work as a cartoonist, mainly in underground publications, throughout his schooling, has long been acknowledged as one of our era's foremost comic book artists. However, it was Maus, published in two volumes in 1986, that first brought his work to a mass audience. Maus tells the stories of a Jewish survivor of Nazi Germany and his son.
The Story of Milk and Honey is a short experimental video belonging to a larger project, which includes photographs, drawings and text, detailing an un-named individual’s failure to write a love story. Through voiceover narration that weaves together images, letters, and songs, a story of defeat transpires into a journey that explores how we collect and perceive information, understand facts, history, images, and sound and where the individual is to be found in the midst of the material.
Produced with the Fundación Marcelino Botín Grant for Visual Arts Fund.
Strike Anywhere is a video essay that takes as its point of departure Swedish "Match King" Ivar Kreuger, whose privatization of financial crisis management strategies bears a direct relation to late-20th Century policies implemented by the IMF and WTO. Between 1917 and 1932, Kreuger capitalized on shifts in global financial markets to control over 200 companies and establish matchstick monopolies in at least 34 countries. At the height of his success, Ivar Kreuger was worth approximately 30 million Swedish kronor (the equivalent of 100 billion USD today).
An oblique, albeit powerful documentary that examines the current conditions, politics, and economics of South Lebanon. The tape focuses on the social, intellectual, and popular resistance to the Israeli occupation, as well as conceptions of "the land" and culture, and the imperiled identities of the Lebanese people. Simultaneously, the tape self-consciously engages in a critique of the documentary genre and its traditions.
The Magic Hedge explores a bird sanctuary located on a former Cold War Nike missile site on the Northside of Chicago. Left to wander and observe, the viewer becomes aware of the park's open secret: men looking for fleeting sexual contacts within the trees and shrubberies. The video highlights the many contradictions of a site historically devoted to military surveillance and now designed to preserve and control the "wildlife".
The desire to own and name land and the pleasures of seeing from a distance color this personal survey of the history of mapmaking in the New World. There There Square takes a close look at the gestures of travelers, mapmakers, and saboteurs that determine how we read - and live within - the lines that define the United States.
Since comets have been recorded, they've augured catastrophe, messiahs, upheaval and end times. A short film about these meteoric ice-cored fireballs and their historic ties to divination that combines imagery of 15th-18th century European broadsides with NASA Jet Propulsion Laboratory footage.
This Is Not Beirut is a personal project that examines the use and production of images and representations of Lebanon and Beirut, both in the West and in Lebanon itself. It also records Salloum’s interactions and experiences while working in Lebanon, focusing on this representational process by a Westernized, foreign-born Lebanese mediator with cultural connections to and baggage from both the West and Lebanon.
This Was Home is comprised of three channels, which present three generations of the artist’s family. On one screen Levy presents her maternal grandfather, Karl Ribstein, another shows her father, Yossi Levy, and the third presents the artist herself. Levy documented each of these protagonists on a journey back to their childhood city and to the home where they grew up, which they had not revisited since having to leave it in their childhood.