Found Footage

2007
Light is Waiting

A very special episode of television's Full House devours itself from the inside out, excavating a hypnotic nightmare of a culture lost at sea. Tropes of video art and family entertainment face off in a luminous orgy neither can survive.

— Michael Robinson

1996
Lightfoot Fever

Fuelled by lavish doses of disjointed hyper-editing, super-talented Jim Bailey dances with wild animals in Animal Charm's hot and exciting performance of "Fever."

2011
Michael Robinson, Line Describing Your Mom

This is the new choreography of devotion, via the vlog of southern nightmares. This is the light that never goes out. This is the line describing your mom.

2010
Magic for Beginners

Magic for Beginners examines the mythologies found in fan culture, from longing to obsession to psychic connections. The need for such connections (whether real or imaginary) as well as the need for an emotional release that only fantasy can deliver is explored.

"Out of the blue, I bought my first television. I kept the TV on all the time."

— Andy Warhol

2011
Manhole 452

Despite assurances from local municipalities, a fact of life is that Manholes blow sky high more frequently than most people realize. Manhole 452 directs the viewer’s attention to the shapes, sizes and patterns of manhole covers on Geary Street in San Francisco, and then plunges deep below into the manholes themselves to explore the hidden threat that lies below.

1998
Marbles

Meatballs - (Bill Murray + leading cast) = Marbles. A Hollywood classic re-visited and re-edited until our hero is no longer in sight.

This title is also available on Animal Charm Videoworks: Volume 2, Hot Mirror Mix.

1998
Mark Roth

An electronic disturbance created during a live audio meltdown by Animal Charm as part of their Hot Mirror Mix in the fall of 1998.

This title is also available on Animal Charm Videoworks: Volume 2, Hot Mirror Mix.

2012
Jesse McLean Videoworks: Volume 1

The three videos that comprise Jesse McLean Videoworks: Volume 1 (The Eternal Quarter Inch, Somewhere only we know and The Burning Blue) all concern various facets of our complicated emotional and psychological relationships to spectacle.

1989
Mercy

Child masterfully composes a rhythmic collage of symmetries and asymmetries in a fluid essay that forefronts the treatment of the body as a mechanized instrument — placing the body in relation to the man-made landscape of factories, amusement parks and urban office complexes. Vocals performed by Shelley Hirsch.

 

2019
Michael Robinson Videoworks: Volume 1

Michael Robinson's video artworks evade easy categorization — defying genre, the works create their own set of rules. Using found footage, on-screen text, and various video formats, Robinson sparks vibrating frequencies between seemingly disparate parts. Michael Robinson: Videoworks Volume 1 surveys video works made between 2006-2010, exploring an abstracted landscape of media consciousness, bouncing between television, pop music, and personal experiences.

1989

Since his early days in Ant Farm, Lord’s evocation of the automobile has been the car as avatar, as the spirit of America—that consummate combination of superior organized corporate technology and the pioneering triumph of the willful individual driver. Motorist is a 69-minute road picture in which the camera rides shotgun with TV actor Richard Marcus as he plays a drifting driver.

2011

Moving Stories strings together scenes of passenger aircraft in flight.  In this short study of the dramatic and narrative power of image and sound, Provost manipulates cinema language and reaches, though minimal means, a strong, emotionally loaded result.  With a limited number of images, an absorbing soundtrack, and a suggestive story line, the viewer's imagination is stimulated to the maximum.

2009
Music at Night

A five-minute video collaboration between Dani Leventhal and Steve Reinke.

2007
My Idol Is Reality

My Only Idol is Reality is a video work created from an excerpt of Season One of MTV’s "The Real World." The piece uses repetition as a framework for abstraction   re-recording the video between tape

2014
The Natural Look, Steve Reinke

There is no future in reproduction. I have no concern with any species extending itself through time. You think you have given birth to a baby, when really you have given birth to a bus driver, or tax collector. Instead I'm interested in the placenta, the real mother of us all, forgotten discarded. The softest machine, all lipids and blood, that blooms and rots like any vegetal/floral martyr. That umbilical cord did not connect you to your mother. It connected you to that most partial of objects — the placenta — part you, part mom, all martyr and garbage.