“On the surface, Rea Tajiri’s work reads like the standard deconstruction of appropriated popular media via text to which we have grown accustomed in the ’80s. But this is a work of remarkable evocation and resonance that counterpoints and complements the scores of Hitchcock films with ‘meta-narrative’ possibilities. These possibilities occur by doubling the inherent distance from the appropriated subject, standing twice removed in the realm of parallels rather than parodies.
American sculptor and land artist Robert Smithson made art as a meditation on transition and change. Perhaps best known for his Spiral Jetty, an earthen berm that sits, occasionally submerged, in the Great Salt Lake of northern Utah, Smithson understood that his earthworks would be subject to natural and human forces and processes: erosion, rising water tables, and changing land use.
In 1964, Steina Vasulka (then Steinunn Bjarnadottir) married Woody Vasulka, a Czech engineer with a background in film. They later moved to New York where, with Andreas Mannik, they founded the Kitchen, a performance space dedicated to new media. The Vasulkas collaborated on a series of video works whose imagery arose primarily through the manipulation of the video signal at the level of the electron beam itself.
Morayngava: the “design of things.” Yngiru: the box of the spirits, the films, just like xaman dreams. This is how the Asurini define video, which has just arrived in their village. After discovering that it is possible to store their images, the old men lament that they never stored images of their ancestors and decided to register the initiation of a xaman, a tradition threatened by new times.
Directed by Virginia Valadão and Regina Müller.
In Assurini with English subtitles.
Tom Poole is an organizer of many things. Counting arts administrator, media facilitator, and activist among the many titles he has held over the years, Poole currently brings all these capacities to bear as the executive director of the Pittsburgh Community Television (PCTV) station. In his contribution to the On Art and Artists series, Poole discusses his early foray into media activism as a member of the video art collective Black Planet Productions.
A flowing river, an injured arm, a dance floor, and a woman washing clothes in the bay—what carries the dust is the wind.
Screenplay | Chi Jang Yin and Elizabeth Feiertag
Produced, director, edited, video effects, main cast | CHI JANG YIN
Cinematographer | Ross Heran
Sound editor and mixer | Lou Mallozzi
In this short but provocative tape, recorded August 4th, 1971, Carol Vontobel “interviews” Nancy Cain who is speaking about her “coke addiction problem” under the pseudonym Nancy X. Nancy’s addiction, the viewer soon learns, is not to cocaine but coca-cola. As such, the segment unfolds as a spoof, both playfully calling attention to the proliferation of depictions of, and conversations about, the pervasive use of drugs in the U.S. in the early 1970s.
Susan Mogul's fantasies of success have always a comic, congenial twist, as in Dear Dennis, a video letter to Dennis Hopper inspired by her discovery that they share the same dentist. The central irony of this witty piece is that, despite Hopper's popular persona as an innovative, sub-cultural filmmaker and performer, the actual distance between his so-called independent" films and Mogul's experimental, non-commercial videos prevents Susan from finding any common ground from which to address Hopper other than the subject of dental work.
Making art and movies becomes the overall thrust of this foray into hives of humming wanna-bees being all that they can be thanks to the magic of chalk and cinema. Through it all there trudges the arthritic frame of he who samples the honey pot along with gobs of eggplant parmigiana, etc., etc., etc.
" order to take the next step (not forward or backwards, but only: to go on) it is often necessary (for me) to lean on a picture made by someone else; sometimes a word will do, a gesture, the look on a stranger's face. Colin Campbell made the next step possible for me, so I took up a video camera (his pictures were my company, and my camera accompanied his pictures). Between his images of the past and mine, Colin Campbell emerged as a Cold Warrior, as an artist who would fight the Cold War with stereo.
"Harun Farocki was commissioned by the Lille Museum of Modern Art to produce a video about his work. His creation was an installation for two screens that was presented within the scope of the 1995 exhibition The World of Photography. The film Interface (Schnittstelle) developed out of that installation. Reflecting on Farocki's own documentary work, it examines the question of what it means to work with existing images rather than producing one's own, new images.
The Luminous Image was an international exhibition of video installations held in the fall of 1984 at the Stedelijk Museum in Amsterdam.
Bob Snyder is a Chicago-based composer, video artist, and author who has been experimenting with sound and video synthesis since the 1960s. As a musician, his interest has always been in the relationship between music and visual imagery. In Snyder’s work, music is the central generative source of meaning, although he also creates a dialogue between the sound and images of nature and architecture.
Interview by Rafael Franca.
Stutter the Searchers is an undulating re-edit of John Ford's "frontier saga" The Searchers (1956). Ford's violent narrative is restructured through the use of condensation, repetition, and the oscillating de-location of the image's place within the frame. This work pursues a spiraling, percussive search where flashing images endanger assumptions about home and wilderness.
This title is also available on Reconstruction Trilogy: Les LeVeque.
Parry Teasdale is one of the founding members of the video art collective Videofreex, which was active in the 1960s and 70s. In this extensive two-part interview Teasdale explores the collective’s motivations and endeavors, which embodied the social and political concerns of the period.
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.
Sharon Lockhart is a photographer and filmmaker. Her photographic and filmic works interrogate the inversion of the static image as cinematic and the manipulation of the moving image into a static/stop-motion frame. Her work also contemplates how we perceive our own real-time realities.
A documentary about the initiation ritual for young Xavante Indians, created during a training workshop for the Video in the Villages project. Invited by Divino from the Sangradouro village, one Suyú and four Xavantes Indians film together for the first time. While filming the ritual, various members of the village explain the significance of the complex ceremony’s elements.
Directed and photographed by Bartolomeu Patira, Caimi Waiassé, Divino Tserewahú, Jorge Protodi, Whinti Suyá; edited by Tutu Nunes.
In Xavante with English subtitles.
Known as one of Italy's most important filmmakers, Pier Paolo Pasolini was first and foremost one of its poets. Combining staged and archival material, this elegiac essay considers Pasolini's brutal murder alongside the texts he published or left unfinished during the last year of his life.
Derived from Ernie Gehr's Serene Velocity, Lossless #4 is the result of a digital file's debugging routine that reveals vectors describing apparent movement in the frame. Having removed the picture, thereby isolating these vectors, the formal qualities of Gehr's film are detectable. The hypnotic effects of the shifts in the lens’s focal length in the original are now substituted with a purely graphical representation, creating a perverse replacement of the optical effect of the original.
A portrait of a studio photographer, Her + Him VAN LEO also examines the photography of the 1940s and 50s from a critical perspective rather than a nostalgic one. This documentary utilizes traditional portrait photography and video in a dialogue between two media: crafted black and white print, and the electronically colored and manipulated screen. This dialog comments on the transformations in art practices and terminologies, and evokes some of the social/urban/political transformations that took place in Egypt over 50 years of its recent history.
American sculptor and land artist Robert Smithson made art as a meditation on transition and change. Perhaps best known for his Spiral Jetty, an earthen berm that sits, occasionally submerged, in the Great Salt Lake of northern Utah, Smithson understood that his earthworks would be subject to natural and human forces and processes: erosion, rising water tables, and changing land use.
The Videofreex had several experiences with the Black Panther Party, including interviewing Illinois Chapter Deputy Chairman Fred Hampton and New Haven Minister of Information Cappy Pinderhughes. In this tape, recorded on March 5th 1971, the Videofreex one-person camera crew Bart Friedman is walking the hallways of CBS, trying to find out where a video statement by Black Panther Eldridge Cleaver is located. The shots are mostly close up on people’s torsos and there is some image loss, but the sound is intact. The tape has an eerie espionage feel.
Taped on Prince Street in Soho, New York City, Skip Blumberg creates a one-word performance. Shouting the word "money" over and over, he attracts the attention of New York's finest. The video crew attempt to explain to the policemen that there is no public disorder as the streets were empty when they began to tape.
The video is an unwitting early example of the reaction of the state to the use of video cameras on the streets.
Three Songs of Lenin is an 11-minute piece made from three one-second samples taken from the second song We Loved Him of Vertov's film Three Songs About Lenin. Building on Vertov's second song's structural use of moving and still images to articulate a dynamic of Lenin's passing from life to death, this video employs an algorithmic structure where every other frame is the first frame of the one-second sample. The 29.97 frame rate allows us to almost see moving and still images at the same time as an imagining of Lenin haunting the present.
