Dennis Oppenheim was a prominent figure in various art developments throughout the ’70s. Oppenheim moved through body/performance art and related video work to earthworks to his current large-scale “factories.” In all of his work, the transference of energy is an underlying concern.
Zaatari’s contribution to Lebanon’s Pavilion at the Venice Biennial 2013. This video offers a portrait of a public school and a tribute to those refusing illegal military orders.
A cross-generational binding of three filmmakers seeking alternative possibilities to the power structures they are inherently part of. Each woman extends her reach to a subject she is outside of. Vever grew out of the abandoned film projects of Maya Deren and Barbara Hammer. Shot at the furthest point of a motorcycle trip Hammer took to Guatemala in 1975, and laced through with Deren’s reflections of failure, encounter and initiation in 1950s Haiti.
A vever is a symbolic drawing used in Haitian Voodoo to invoke Loa, or god.
This title documents events at the opening of the 1970 exhibition Vision and Televison. Held at the Rose Art Museum of Brandeis University in Waltham, Massachusetts from January 21 - February 22, the exhibition is widely regarded as the first museum exhibition of artist's video.
This two disc title contains the following video documentation:
This video presents a history of alternative spaces in New York City during the late 1960s and early 1970s, focusing on two galleries that no longer exist. The work produced in these two spaces forms the basis of the New Museum of Contemporary Art’s 1981 exhibition Alternatives in Retrospect: An Overview 1969-1975. Curator Jacki Apple, who produced the video, assembled documentation from the galleries and reconstructed artworks for the exhibition.
Originally commissioned by the Harvard Art Museums in response to the life and work of David Wojnarowicz, Survivor’s Remorse looks at how both art and bodies are maintained and the socio-economic influences that create a chasm between the value of things and people. This work examines the resources dedicated to the maintenance and care of artworks versus (artists) lives, especially those marginalized by illness or identity.
The fifth in a series of cross-cultural symposia organized by Lucy Lippard, the four artists interviewed here–Tejana tableaux artist Santa Barranza, Taiwanese video and interactive installation artist Shu Lea Cheang, African-American sculptor and installation artist Joyce Scott, Native-American photographer Hulleah Tsinhnahjinnie–discuss their work and its cultural contexts. Moderated by Lucy Lippard.
Craig Owens (1950-1990) 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.
Louise Bourgeois (1911–2010) utilized wood, metal, plaster, and bronze in creating her sculptures. Among the many themes in her work are the house (or lair), the spider and the so-called “toi-et-moi” or “you and me.” These subjects derived from a self-defined problem in Bourgeois’s life, the desire to find and express a means of getting along with other people. For Bourgeois, the relationship of one person to another was all-important, and life had little meaning without it. Louise Bourgeois’s remarkable career spanned both the modern and postmodern eras.
This 12-minute video by Tom Palazzolo and Chicago writer Jack Helbig tells the story of the recently discovered Chicago street photographer Vivian Maier. Though she was unknown in her lifetime, her extensive body of work is rewriting the history of post-World War II American street photography. The video, told from the point of view of Maier herself, recounts her life and work, from her childhood in France to her move to NYC in 1951 and subsequent relocation to Chicago, where the majority of her work was done.
Spell Reel is an archive of film and audio material from Bissau, Guinea-Bissau. On the verge of complete ruin, the footage testifies to the birth of Guinean cinema as part of the decolonising vision of Amílcar Cabral, the liberation leader who was assassinated in 1973.
“In her brilliant video Art Herstory, [Freed] has restaged art history, putting herself in the model’s role in numerous paintings.... Time dissolves under her humorous assault — one moment in the painting, then out of the canvas and into that period, then back in the studio."
— Jonathan Price, “Video Art: a Medium Discovering Itself,” Art News 76 (January 1977)
An excerpt of this title (14:49) is also included on Surveying the First Decade: Volume 1.
A piece of movie film has survived the forthcoming Ice Age and is discovered by Venusian scientists--5000 years from now... This work is a correspondence of two information fragments of different origins and times that met by accident. Cinema transforms into a three-dimensional landscape--utilizing data that is based on an archaeological misinterpretation. Zuse Strip is named after Konrad Zuse’s first digital computer. It used discarded 35mm movie film from the German UFA as a medium to read and write 8-bit binary code data with a hole-punch system.
In this 2014 interview, South African artist Kendell Geers (b. 1968) discusses the function of magic, myth, and memory in his work. Beginning at childhood, Geers charts the path he has taken in his understanding of his own biography as a site of resistance. This interest in the use of personal biography culminated in 1993 with his decision to change his date of birth to May 1968 as a way to reference both the May 1968 student protests, and the fact that 1993 was the first year that South Africa had participated in the Venice Biennale since 1968.
Staged at the Haus der Kulturen der Welt, Berlin, Conakry is a sequence shot on 16mm film that travels through time, space and media to revisit one film reel from the Guinean archive. This particular reel documents an exhibition curated by Amílcar Cabral at the Palais du Peuple in 1972 in Conakry, Guinea, reporting on the state of the war against Portuguese rule. César invited the Portuguese writer Grada Kilomba and the American radio activist Diana McCarty to reflect on these images and their history.
Lucy Lippard (b. 1937) earned degrees from Smith College and New York University before beginning her career as an art critic in 1962, when she began contributing to publications such as Art International and, later, Artforum. In 1966, she organized an exhibition entitled “Eccentric Abstraction” at the Fischbach Gallery in New York City. “Eccentric Abstraction” set the standard for what would later be regarded as postminimalism, process, or antiform art.
One of several videos the artist made with her brother while still in graduate school at the University of Illinois at Chicago. Two Dogs and a Ball is a cover of William Wegman’s piece of the same title from the late 60’s. During the critique for this piece the artist, Jeff Wall, remarked that at this point anything can be art. This video revels in a degree of quality loss, and in this case it is brought it closer to the chopped and fuzzy original.
Sphinxes Without Secrets is an energetic and transgressive acount of outstanding female performance artists, and an invaluable document of feminist avant-garde work of the 70s and 80s. No Mona Lisa smiles here, as performance artists spill their guts about what outrages and delights them. Performers, curators, and critics unravel the mysteries of a new art form and ponder the world women confront today. Since its inception, performance art has provided a forum for artists who create work that challenges the dominant aesthetic and cultural status quo.
Billion Dollar Bimbo: A Musical is a story of a young Hollywood actress’s psychological roller coaster ride through loss and redemption. One day on set the actress witnesses her mother collapse in the middle of shooting. Thinking her dead, the woman quickly spins out of control, immediately descending into drug use and promiscuity. The daughter’s depression-induced mania is assuaged when the mother recovers, but only briefly. When the mother quickly dies, the forlorn daughter plummets again into hopelessness and seeks solace in religion.
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.
Joan Mitchell (1925-1992) was a "second generation" abstract expressionist painter and printmaker. She was an essential member of the American Abstract expressionist movement, and one of the few female painters to gain critical and public acclaim in the era.
This documentary explores the groundbreaking street performances of Cuban artist JuanSí González during the 1980s. A pioneer of relational aesthetic practice in Cuba, González transformed public spaces in Havana into laboratories for edgy exchanges between artists and the public and created numerous works that threw art's role in a socialist society into question. His experiments provoked surprise from his peers and suspicion from state authorities. Twenty years later, the artist sat down to reflect on the relevance of those performances for the development of Cuban contemporary art.
No More Nice Girls layers the personal and political histories of women active in the 1970s feminist art movement, including Brenda Starr, Yvonne Rainier, B. Ruby Rich, Carrie Mae Weems, and Sherry Millner. Set in the mid-1980s, when many of the advances of the women’s movement were threatened by backlash conservatism, this video forefronts conversations between feminists over a collage of archival photographs, newspaper headlines, and bumper stickers that recollect a feminist history in danger of erasure.
" … Brilliantly written and realized”
tryphon: three sounds is a candid portrait of the artist Thomas H. Kapsalis (b.
“We lose good artists to the past all the time because their work was ephemeral, or difficult, or fashion wasn’t on their side. The performance artist Stuart Sherman, who died of AIDS in 2001, was a candidate for disappearance on all three counts.”
— New York Times, 2009
