In My Dinner With Weegee Donigan Cumming weaves together two life stories. The central figure, a man in his seventies named Marty, remembers his experiences in New York as a young Catholic labour organizer and peace activist, his friendships with David Dellinger, the Berrigan brothers, Bayard Rustin, Weegee, and James Agee. This mixture of first-hand knowledge and gossip brightens Marty’s dark passage—he is old, sick, depressed, and alcoholic.
This video features California artists: drawer and painter Deanne Belinoff, sculptor and poet Sana Krusoe, wood relief carver and painter Palema Holmes, and New York-based video artist Shirley Clarke.
The Artists: Part 1 was produced in concert with the exhibition Four Solo Exhibitions at the Long Beach Museum of Art in 1988. The artists are introduced by LBMA’s senior curator Josine Ianco-Starrels. The video presents and contrasts the diverse styles, media, and personalities of these four women artists.
The Videofreex document a street intervention by Turkish artist Tosun Bayrak (b.1926). The performance was to become a notorious example of the element of "shock" in contemporary art. Within the work:
Shot in Naples, Vienna, and New York, Some Chance Operations explores the notion of an archival form, in this instance film, as an unstable memory receptacle that can vanish. History and how it is made is meditated upon as one of many chance operations. The filmmaker Elvira Notari, who had a film production company in Naples from 1906 to 1930, plays a significant role as an impetus for Some Chance Operations. Despite the fact that she was a prolific filmmaker, producing over sixty feature films, only three remain intact.
Big_Sleep™ explores problems in our archival urges. Via a single-channel desktop screencast, informatic elements ebb and flow—creating and relating interface absences. These gaps suggest that no amount of hard drive space can defy mortality.
Performance artist/sculptor Ana Mendieta used the raw materials of nature: water, mud, fire, rock, and grass. The consciousness of her politics and the poetics of her expression fill her work with an emotionally charged vision that is powerfully conveyed in this posthumous video profile. Drawing upon the raw spiritual power of Afro-Cuban religion, Mendieta used her art as a ritualistic and symbolic activity to celebrate the forces of life and the continuum of change.
Museum collections of various kinds are the object of artist Dana Levy's ongoing, consistent study in the past decade.
Cyclops / "monitor" / minotaur.
Note: A 20-second video loop self-portrait.
This work attempts to further the critical dialogue surrounding the strategies of repetition and re-enactment. The Apparent Trap is a work that reminds the audience of the psychoanalytic implications of these strategies. It examines Walt Disney’s The Parent Trap (1961), a story in which twins decide to switch identities. The conceit of identity, the violence that erupts when one is confronted with one’s mirror image, and the “trap” of identification with the Other are all themes explored by re-enacting selected video art that speaks to these issues.
In April 1974, Video Data Bank co-founders Lyn Blumenthal and Kate Horsfield conducted their first interview, an in-depth conversation with art historian and curator Marcia Tucker. During the remainder of that year, Blumenthal and Horsfield went on to interview four more notable art world women: Joan Mitchell, Lucy Lippard, Agnes Martin and Ree Morton.
This tape examines the meaning, impact, and future of the early-1980s avant-garde through interviews with artists (Scott B., Robert Longo, Walter Robinson, Michael Smith), an art dealer (Helene Winer, Metro Pictures), a museum director (Marcia Tucker, The New Museum of Contemporary Art), and an art historian (Roselee Goldberg). “Whenever you feel confident that you know what’s happening at the outside edge, something’s always happening that you don’t know about. The avant-garde, if it exists at all... is determined by the artist, not the peripheral people like myself,” Tucker says.
Commissioned by the Oakland Museum, this video provides an artist’s interpretation of the museum’s displays and collections. The voice of a friendly narrator enlarges the image-objects with historical and social information, while a written text provides ironic commentary. “The term curator is derived from the Latin ‘curatus’ —one responsible for the care of souls.” The daughter represented in the famous Dorthea Lange photograph of the Migrant Mother recounts the circumstance surrounding the now-celebrated photograph and how it impacted her life.
Performance artist/sculptor Ana Mendieta used the raw materials of nature: water, mud, fire, rock, and grass. The consciousness of her politics and the poetics of her expression fill her work with an emotionally charged vision that is powerfully conveyed in this posthumous video profile. Drawing upon the raw spiritual power of Afro-Cuban religion, Mendieta used her art as a ritualistic and symbolic activity to celebrate the forces of life and the continuum of change.
Set in East Berlin in 1977, this short experimental documentary interviews the Dadaist artist Hannah Höch as she reflects upon her experiences living and working during in 1920s Berlin. Höch compares the sociopolitical landscape of Berlin in the 1970s to its romanticised past of the Wiemar Era, while questioning the usefulness of nostalgia as an emotive tool.
The fourth in a series of cross-cultural symposia organized by Lucy Lippard, the four artists interviewed hereÑJapanese-American painter and political activist Betty Kano, conceptual and performance artist Lorraine O'Grady, Hopi weaver Ramona Sakiestewa, and Chicana narrative and installation artist Celia Alvarez Muñoz–discuss their work and its cultural contexts.
Sunstone tracks Fresnel lenses from their site of production to their exhibition in a museum of lighthouses and navigational devices. It also examines the diverse social contexts in which optics are implicated, contrasting the system of triangular trade that followed the first European arrivals in the ‘New World’ with the political potential seen in Op art in post-revolutionary Cuba.
A Walk with Nigel is a video essay that constructs a dialogue between two artists from two different times, between movement and stillness, between speech and silence. An archaeological study of a community, reawakening the archive in the present. A materialist study of streets and social relations.
In 1959, Jean Rouch directed the film La Pyramide Humaine. Situated between fiction and documentary, Rouch’s work presents his attempts to initiate a debate between two groups of students from the Ivory Coast, a white group and a Black group. A precursor to cinéma vérité, this often forgotten film served as the starting point of The Four Chambered Heart.
The four‐part cycle Parallel deals with the image genre of computer animation. The series focuses on the construction, visual landscape and inherent rules of computer-animated worlds.
“Computer animations are currently becoming a general model, surpassing film. In films, there is the wind that blows and the wind that is produced by a wind machine. Computer images do not have two kinds of wind.”
-- Harun Farocki
In this interview, Brian Holmes, an influential art critic, activist and translator, discusses social forms of alienation, human ecologies of power, and the impact of technology on geopolitical social networks. Holmes reflects on his ongoing study of the ways in which the rhetoric of revolution has been institutionalized, as well as artists’ resistance to such cooption. For him, artists working in collectives have the potential to create a new artistic milieu that is not aligned with the dominant model of production. This argument is born out in his published collection of essays, Hieroglyphics of the Future (2003).
Ming Wong creates videos that explore performance and issues of race and gender. Born in Singapore of Chinese heritage, and now based in Berlin, his work examines cross-cultural experiences by appropriating scenes of iconic world cinema. Wong casts himself anachronistically as the star, critically exposing the otherness of the relationship of media and world history.
In 1985, Hollis Sigler, a leading feminist artist in Chicago, was diagnosed with breast cancer, a disease that had also stricken her mother and great-grandmother. This interview with Hollis Sigler focuses on the period of her life beginning with the work entitled Breast Cancer Journals, a series of paintings, drawings, and collages expressing a wide range of emotional responses to the various stages of her struggle with cancer encompassing more than 100 works. Art in America called Sigler’s Breast Cancer Journals “one of contemporary art's richest and most poignant treatments of sickness and health.Taking on a kind of religious conviction, her jewel-colored symbols imbue a death-haunted situation with miraculous, celebratory life.”
My film is a simple gathering of New York City street footage. It was shot with a spring-wound 16mm Bolex on, above, and below the streets of Manhattan and Brooklyn and includes footage of the ticker tape parade for astronaut John Glenn.
Sunstone tracks Fresnel lenses from their site of production to their exhibition in a museum of lighthouses and navigational devices. It also examines the diverse social contexts in which optics are implicated, contrasting the system of triangular trade that followed the first European arrivals in the ‘New World’ with the political potential seen in Op art in post-revolutionary Cuba.
2001 Colours Andy Never Thought Of transforms Warhol’s infamous screen prints of Marilyn Monroe through a process of color manipulation. The viewer witnesses a flurry of changing tones, colors, and shades in a postmodern nod to the scratch genre that Barber came to define.
