A group of cops laugh and talk, while scanning the street for suspicious activity. An extreme close-up of a sensuously exposed neck; a soft pink fleshy ear turns to reveal an inquisitive hostile eye....
An early example of video erotica from the Videofreex. A group of naked people lounge around smoking and listening to music. A male and female couple is making love on the floor in a room full of monitors. The couple talks about sex and videotape, and the woman says, “Cameras turn me on.”
Agoraphobic is a portrayal of a specific case of New-Age impotence. The agoraphobic's pathology manifests itself as a need to drink his victim's blood in order to move from place to place. Set in an office interior, Agoraphobic becomes a play on the patient / therapist relationship, suggesting an imbalance in the transfer of baggage.
The “a-ha experience” is the moment when a child first recognizes its own image in a mirror; it is critical to the development of intelligence and identity. It is also the moment when the “self” is surrendered to the control of an external influence. The child accepts the power of the mother to confer or withhold love; it is the mother’s power to fulfill desire that shapes a child’s sense of identity. Similarly, a camera controls love by directing or not directing its attention to the desiring subject.
"I'm not going to go to the Anne Frank House—I don't think I could take it—being a tourist is bad enough—though I'm not really a tourist—I'm here working—my camera's the one on vacation—taking holiday sounds and images—it's having a nice change of pace—for me it's still the same old thing—talking and talking.
"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)
Named after Harry Smith's seminal "Anthology of American Folk Music,” Anthology of American Folk Song re-inscribes the optimistically paranoid mythological landscape of contemporary America.
"They had been unable to believe in the existence of terrorists. After all, none of them had discovered any repressed memories of terrorist abuse. They had focused instead on the more immediate and real threat of serial killers, alien abductors and Satanic ritual abusers."
Volume 2 includes the pixelvision works made in 1992: A Place Called Lovely, It Wasn't Love, and Girlpower. A Place Called Lovely references the types of violence individuals find in life, from explicit beatings, accidents, and murders to the more insidious violence of lies, social expectations, and betrayed faith. Benning collects images of this socially-pervasive violence from a variety of sources, tracing events from childhood—movies, tabloids, children's games (like mumbledy-peg)—personal experiences, and those of others.
The male/female, subject/object investigation in A Bit of Matter and a Little Bit More has no titillating introduction; the appetite is not whetted beforehand. Hardcore, the opening shot, shows the crotch areas of a male and female body engaged in coitus. At the end of the tape a male voice says, "Some questions and five answers relative to moved pictures, five questions and some answers relative to moved pictures—" a reference to the artists' book, 100 Rocks on a Wall.
Commissioned to be a "promo" for a loud punk rock band, Mr. Kuchar feared that the noise the band made would spoil the mood of his visuals, so he used the sound of a lush orchestra to score the picture and the antics.