Performance

A philosopher and intermedia artist, Adrian Piper focuses on xenophobia, racism, and racial stereotyping

“As a black woman who can 'pass' and a Professor of Philosophy who leads a double life as an avant-garde artist, Piper has understandably focused on self-analysis and social boundaries. Over the years her work in performance, texts, newspaper, unannounced street events, videos, and photographs has developed an increasingly politicized and universalized image of what the self can mean.”—Lucy Lippard, Issue: Social Strategies for Women Artists (London: ICA, 1980)

Tony Cokes, Scott Pagano

5% is a ten-minute work that questions the cult of pop stardom, deconstructs music industry practices, considers the problematics of live performance, and suggests other, more anonymous working strategies.

Ben Coonley

3D Trick Pony

An audience-interactive demonstration of Lev Kuleshov’s famous editing experiment, and a 3D review of loosely related principles of subject/spectator empathy.

Note: should be viewed through 3D glasses. See http://store.yahoo.com/rainbowsymphony/an3dglasreda.html

This title is also available on Ben Coonley: Trick Pony Trilogy.

Joan Logue

30-Second Spots

Joan Logue cuts down considerably Andy Warhol’s projection of fifteen minutes of fame, with this compilation of 30-Second Spots. Produced to be broadcast as individual, mini-documentaries on the artists and their work, Logue’s short interpretive video pieces feature a prime-time selection of over twenty New York performance artists, composers, dancers and writers, including Mayanne Amacher, Robhert Ashley, David Behrman, John Cage, Lucina Childs, Douglas Ewart, Simone Forti, Jon Gibson, Philip Glass, Spalding Gray, Joan Jonas, Bill T.

Richard Landry

One, Two, Three, Four

Starting with an activity as basic as four hands clapping, Landry composes an arresting visual documentation of the fundamentals of music through a play of visual and sonic rhythms. Landry considers these movements “imaginary hand exercises for beginning drummers.” As disembodied hands swim through shallow space, a strobe light freezes them in the process of clapping, creating a mesmerizing play of eye-ear coordination.

This title was part of the original Castelli-Sonnabend video art collection.

Paul Tarragó

Paul and the Badger: Episodes 1 to 4

The Badger Series has issues and attempts, each episode, to resolve them. Recasting a glove puppet show through his own present day sensibilities, Paul assumes the role of kindly uncle mentor to a household of capersome woodland creatures. Mortality, self-sacrfice, depression, altered states of consciousness and transgressive art practices are all explored as part of their everyday lives together.

Guillermo Gómez-Peña

Border Art Clásicos (1990-2005): An Anthology of Collaborative Video Works by Guillermo Gómez-Peña

An Anthology of Collaborative Works by Guillermo Gómez-Peña

This "conceptual package" of collaborative videos and writings by leading theorists is a unique opportunity for students, artists and educators to explore the psyche, experimental aesthetics, activist ethos and spiritual cosmology of legendary rebel artist Guillermo Gómez-Peña.

With filmmakers:

Isaac Artenstein, Adriene Jenik, Patrick Litchy, Jethro Rothe-Kushel, Daniel Salazar, Henry Sayre & Sandy Brooke, Roberto Sifuentes, Liz Singer, Gustavo Vazquez

Ben Coonley

Ben Coonley: Trick Pony Trilogy

The Trick Pony Trilogy is a series of parodic instructional videos hosted by the artist and a talking mechanical hobbyhorse. Human and pony present lessons on a series of rule-based systems including Texas country dancing, the film editing principle known as the “Kuleshov Effect,” and football strategy. The pony serves as sidekick and foil to Coonley’s stuttering pedantic Everyman, disrupting his academic demonstrations with songs, whinnies and frequent requests to be brushed.

Ben Coonley

Ben Coonley: Post Pony Trilogy

In the Post Pony Trilogy, Coonley serves as frustrated host to a series of flawed lessons on currency markets and current events. His heartbreak over a missing pony sidekick presents an obstacle to achieving his pedagogical goals. While coping with the lingering effects of a broken heart, Coonley struggles to maintain composure for his audience, who are instructed to interact with the videos. In the final segment, The Last Pony, ponies replace Coonley altogether and discover that their method of anarchic equine instruction is more interesting than the human’s method.

Anne McGuire

Anne McGuire Videoworks: Volume 1

A compilation of Anne McGuire's videoworks from 1991 - 1998.

I Say I Am: Program 2

The tapes in Facing the Self: Program 2 are organized around the appearance of the female form, particularly the face. Using at times elaborate, but more often very limited, visual means and divergent visual and theatrical strategies, each tape explores, asserts, withholds, and/or claims power over the representation of the artist’s body, its appearance and experiences. Focusing on the problematic relationship of power between the artist and her audience, the artist bodily appears on screen but keeps herself somehow unavailable to the viewer.

I Say I Am: Program 1

Desire and the Home: Program 1

Challenging the dominant ways of making and critiquing art, feminist art practice in the 1970s stressed personal connections to materials and immediacy of context over formal abstraction.

I Say I Am: Program 1 & 2

A collection of early feminist videos curated by Maria Troy, Associate Curator of Media at the Wexner Center in Columbus, Ohio. These video performances by eleven women artists, made between 1972 and 1980, sketch a time when feminism was a new and powerful liberatory movement, when video was a relatively new invention, and when social institutions—including the art world—were undergoing radical reevaluation.

Mike Kuchar

The Dreamer's Tale

Videomaker and spoken word performer David Finkelstein sleepwalks down into subconscious corridors.

Blumenthal/Horsfield

Craig Owens: An Interview

Craig Owens was a critic who wrote and lectured extensively on contemporary art. He showed particular interest in the issues of photography, postmodernism, feminism, and Marxist thought. A former associate editor for October and senior editor for Art in America, as well as professor of art history at Yale University and Barnard College, his writings were collected in Beyond Recognition: Representation, Power, and Culture (1994). Owens died of an AIDS-related illness in 1990. “I’m arguing for an art that is culturally relevant.

Performance

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