A brief trip to the Miami '09 art festival was the moving (or swimming) force to instigate this travelogue. There are some bathing sequences sprinkled about and lots of munching going on in this latest addition to my Christmas video series. There's even a Santa Claus figure trodding across sand instead of snow; but don't let that dismaying personage in shades of gray discolor an otherwise plentiful poo-poo platter of pulchritude.
A love letter to the Internet from a feral cat in Brooklyn.
Anonymously published to the web in 2006, Valentine for Perfect Strangers was an early example of an art video that "went viral," amassing over a half-million views and landing on the front page of YouTube.
Summer and smoke (from pork chops) filters into every rip in my tee-shirt as legs and souls are bared for the infra-red-hot digital camera that's ON THE PROWL!
A Fourth of July celebration ignites the Id and unleashes a digital demon hungry for imagery of the young and the restless to appease the contraption it sees through: the cannibal camcorder in a state of carniverous conniptions!
"A major influence for generating ideas for me was not what I could contrive on my desktop, but being open and receptive to “accident”. For instance, one evening in 1972 while typing a syllabus for a class on my old Smith Corona typewriter, I happened to see on the TV a documentary by Leni Riefenstahl. German troops were marching, and I found that I could duplicate the “ta ta tum, ta ta tum, ta ta tum tum tum” of the drumbeat by typing “mar mar march mar mar march.“ Had not the broadcast of this film taken place while I was typing, I would never have thought of this concept.
Shot in Pixelvision, Joe Gibbon's Multiple Barbie features the artist as a smooth-talking psychoanlayst imploring the silent doll to explore her multiple personalities in order to purge their power from her psyche.
The foliage and sprouting of urban greenery becomes the subject of this celebration to all things pollinated. The video explores hidden gardens that lie sequestered amid an array of dwellings inhabited by the not so rich and famous. Felines creep amid the blossoms as human entities enrich the soil with their leaking desires.
Introduces the audience to the rockin' talkin' pony, who provides musical accompaniment for a series of Texas country-dance lessons.
This title is also available on Ben Coonley: Trick Pony Trilogy.
Frisco anxiously awaits the pyrotechnic birth of a New Year while the remnants of holiday greenery still burn bright in all the right places. One of those places gives shelter to an Abyssinian animal of lethargic nature, while all about her the rumblings of tummies in turmoil foreshadow the gluttony of her bipedal guardian.
The audience's engagement with the smallest subtleties and less than (usually considered) spectacular elements of theater is impressive and speaks volumes on the patience and acuity of modern viewers. Their finely tuned sense of humor and rapt and continuous focus warms the cynics' icy exterior. Likewise, the feedback loop of mutual artistic understanding and respect from the performing elements and receptive viewers, and back again, fortifies those who wish to love art and believe it must have revolutionary value. All are satisfied and joyful in the showing of satisfaction.
Combining Rubnitz’s skillful manipulation of the familiar “look” of TV shows with an extraordinary range of characters, performer Ann Magnuson convincingly impersonates the array of female types seen on TV in a typical broadcast day. From glitzy to drab, from friendly housewife to desperate evangelist, Magnuson is a one-woman universe appearing on every channel, the star of every program—giving her all as the chameleon woman who is always on display.
Distracted Blueberry follows a performance art band through a series of poetic encounters. Masculine tropes are undone to form a relationship between male sexuality and the human death drive. The body, violence and humour are positioned in the larger context of nothingness and somethingness, bridging a tension between externalized anxieties and the terrors of nature. Evocative of inner emotional states, strange landscapes exist as reflections of our shared dreams and nightmares.
Viewer discretion advised
This video was originally part of an installation at the Whitney Museum of American Art, part of which included the video collaboration Channels of Desire. Recreating coin-operated porno booths, Channels aired one photo image on seven TVs, interrupted only by the viewer inserting a coin and choosing a segment. The concept behind it was the construction of desire in categorical ways, the form of the piece speaking to sexual desire as something that is constantly evading the viewer. The images presented women’s experiences with interracial, lesbian, and heterosexual encounters.
Amid the greenery of what should be a White Christmas, there sits the blackness close to my heart; and beyond that there bellows a legion of behemoths who know not shame nor guilt. A homeless herd of heaven on earth that smell of fish and exotic ports of call. A call I fail to heed.
John Smith, throughout his 40-year career, has approached the moving image from film, video and installations, generating a tremendous body of work that’s as diverse in its topics as it is in its methods. Weaving between early structuralist film and more personal, diaristic, documentary approaches to the places in which he lived, most notably London, his output is both broad and varied.
Identically dressed, and with sibling-like resemblance, performance artists Trevor Martin and Kym Olsen shift between spoken word and athletic dance choreography in a collection of 29 scenes. Set in various locations--including a gymnasium, an abandoned hospital, and a trailer park circus--Martin and Olsen slip between a ventriloquist and his dummy, a seducer and his surrogate, a doctor and his patient, and synchronized dance partners. The film examines a complex social psychology--questioning the colonization of the human body for various political, medical and religious agendas.
Love is in the air as newlyweds chomp on cake, brides marry werewolves, and hatchets fall on adulterous heads. Amid the real-life romance is mixed the real-life business of directing my film students in a tale of run-away passions for the silver screen.
In this early Tom Rubnitz, Barbara Lipp and Tom Koken collaboration, "Frieda" performs her rap song with a bevy of dolls as back-up singers and dancers. Features rock-bottom production values and song lyrics by Barbara Lipp and Tom Koken.
This final weather diary travels through some rough inner and outer domains. Social interactions blend more smoothly than the clash of air masses which threaten to clobber a prairie town in a vortex of violence.
Flashbacks and flashpoints flare-up along with thunderheads that loom and boom with vibrations of doom, their every move charted with vivid vibrancy on videographic maps which detail developing devastation.
Desire and death are in the air along with some aromatic wisps of ethnic edibles, so be sure to sniff it all.
Legendary filmmaker George Kuchar, in between trips to the bathroom, visits three Bay area friends: an eccentric filmmaking couple who produce zombie movies, and performer Billy Nayer.
As the camera looks out through a barred window and the clock strikes four in a Swiss city, the death of Yasser Arafat provides the starting point for a journey back in time.
Throwing Stones is the third episode in the Hotel Diaries series, a collection of video recordings made in the world’s hotel rooms, which relate personal experiences and reflections to contemporary conflicts in the Middle East.
This episode includes: two more adverts, considerations of the future, a multiple projection spectacular in miniature, a riverine jaunt, much fog, and an ending x 2.
This is the fourth and final episode in The Variations cycle.
Failing Up describes career advancement despite bad decisions, bankruptcies, and intellectual mediocrity. In this short film, the Manhattan real estate holdings of the King of Failing Up are catalogued and synced to a soundtrack that suggests how it feels to be one of his subjects.
Whip pans, zooms, lens twists, and bursts of stop-frame animation transform eight minutes of borrowed audio from Home Alone 2 (a film that features a cameo of the current US President) into a political work of slapstique concrete.
Ireland, October 20th 2007
The filmmaker returns to the city where he made the first video in the series and looks back at the events of the past six years.
Six Years Later is the eighth episode in the Hotel Diaries series, a collection of video recordings made in the world’s hotel rooms, which relate personal experiences and reflections to contemporary conflicts in the Middle East.
