Sound

2012
Stephanie Barber, Healing

The video hovers tentatively between therapy, documentary, poetics and mystic traipsery and ends, like all good things, in surrender to song. There is a challenge presented (the challenge to engage earnestly with the piece as it requests) to fall into the breathing and pacing presented, and the challenge to view the video as a discrete piece of art at the same time. The piece relies heavily on the text, the disembodied Virgil through which the words become musical, instructive and (due to the absence of image) visual.

2010
Heliocentric

Heliocentric uses timelapse photography and astronomical tracking to plot the sun's trajectory across a series of landscapes. The entire environment seems to pan past the camera whilst the sun stays in the center of each frame, enabling us to gauge the earth's rotation and orbit around the sun. As the sun's light becomes disrupted by passing weather conditions and the environment through which we encounter it, it audibly plays them as if it were a stylus.

2003
Hiker

The camera follows behind a woman on a mountain hike. An alpine peak can be seen in the distance. This piece uses the trope of the horror soundtrack to build a tension that is never released.

2008
inversion, transcription, evening track and attractor, the

"how looking at what has become the skeletons of photographs is a visual lecture on aesthetic pleasure or emotion. and how being, almost entirely denied of this pleasure, or having the pleasure merely suggested induces a viewer to ruminate on the act of viewing and that of wanting to view. and maybe it is evolution which causes this anxiety and art form."

2001
Kodwo Eshun: An Interview

British-Ghanaian, writer, theorist and filmmaker Kodwo Eshun (b.1967) is known for his interest in the electronic mythology of sound. In this interview, Eshun discusses his desire to challenge the predominance of sociological inquiries into the historical and stylistic development of music.  Eshun seeks to establish a model of inquiry that is much more concerned with the materiality of sound.

1969
Lip Sync

An upside-down close-up of the artist’s mouth, Nauman repeats the words “lip sync” as the audio track shifts in and out of sync with the video. The disjunction between what is seen and heard keeps the viewer on edge, struggling to attach the sound of the words with the off-kilter movements of Nauman’s mouth.

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

2001
Lost Sound

Lost Sound documents fragments of discarded audio tape found by the artists within a small area of East London, combining the sound retrieved from each piece of tape with images of the place where it was found. The work explores the potential of chance, creating portraits of particular places by building formal, narrative, and musical connections between images and sounds, linked by the random discoveries of the tape samples.

2016
Sara Magenheimer: An Interview

Sara Magenheimer earned her MFA at Bard in 2013 and has since shown her work internationally in Canada, Iceland, the Czech Republic, and Denmark. Her cross-disciplinary practice plays with the juxtaposition between the form and content of language, exposing the absurdity of expected meanings.

2005
Music Works

This compilation features 11 of Jem Cohen's collaborations with musicians. Made on 16mm, Super 8 and Video, the works include the music of R.E.M., Gil Shaham and the Orpheus Chamber Orchestra, Void, Elliot Smith, Jonathan Richman, Miracle Legion and Olivier Messiaen.

Nightswimming

1972
Noise

The earliest of Benglis's videoworks, Noise calls attention to the assemblage element of video by allowing the image to disintegrate into static between edits. Benglis also plays back several generations of image and soundtrack to introduce increasing amounts of distortion. Conversation is reduced to unintelligible noise, resulting in the disassociation of sound and image that to some extent characterizes her later work.

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

2012

An absurdist demonstration of how the alphabet works.

2014

O, Persecuted turns the act of restoring Kassem Hawal’s 1974 Palestinian Militant film Our Small Houses into a performance possible only through film. One that involves speed, bodies, and the movement of the past into a future that collides ideology with escapism.

Om
1986
Om

A film about haircuts, clothes, and image/sound relationships.

"This four-minute film explores our response to stereotypes—aural, visual and ideological. Smith signals these stereotypes to the viewer through a chiefly associational system, which deftly manipulates the path of our expectations. The structure is stunningly simple and deceptively subtle. We are taken on a journey from one concrete stereotype to its diametric opposite, as images transform and juxtapose to, ultimately, invert our interpretation of what we see and hear."

—Gary Davis

1972
Quad Suite (Six Vibrations for Agnes Martin, Hebes Grande...

Capitalizing on the visual aspect of musical performance, Quad Suite explores the essential link between the image of music and its sound. In Six Vibrations, the camera is riveted to a close-up of the four upper frets of Landry’s guitar, maintaining an image of the sound easily identified with the gridded field paintings of Agnes Martin. In Hebe’s Grande Bois, Landry improvises on a bamboo flute as the camera frames his mouth, again in extreme close-up, in the center of the screen. There is something sensual, almost obscene, about Landry’s lips.

2011
Remote

There is a presence lingering in the dark woods, just under the surface of a placid lake and at the end of dreary basement corridor. It’s not easy to locate because it’s outside but also inside. It doesn’t just crawl in on your wires because it’s not a thing. It’s a shocking eruption of electrical energy.

In the collage video Remote, dream logic invokes a presence that drifts through physical and temporal barriers.