McGuire constructs a murky black and white soap-opera world of endless, timeless, and placeless limbo, where the characters talk to each other entirely in clichés, bad poetry, and other contrite forms of speech — a short TV show in which nothing is resolved. The video culminates in an absolutely stunning monologue performance by legendary underground film and videomaker George Kuchar.
A Videofreex performance. Bart Friedman plays the pump organ and David Cort sings. He asks Bart to "Play something that I can laugh to," and much laughter ensues. Then, "because of American society," there is a sad song, and much wailing ensues.
Acconci literally feels the music in this tape as he lays down on speakers playing jazz. The sound pulses through his body while a collaborator massages his nude back in time with the music, occasionally striking Acconci like a rhythm instrument.
This title was in the original Castelli-Sonnabend video art collection.
Meredith Monk (b.1942) has been composing, choreographing, and performing since the mid-1960s. Monk is primarily known for her vocal innovations, including a wide range of extended techniques, which she first developed in her solo performances prior to forming her own ensemble. Her voice has a unique timbre, which she explores through a capella singing and speech. As a dancer and choreographer, she creates hybrid, theatrical productions that incorporate ritualistic movements, lighting effects, and small props.
Cutting to the core of cinematic realism, Fountain presents the plot-less character of human encounters. In a string of moments with the people who have presented themselves to Cumming’s camera for over twenty years, Fountain allows the accidental and the absurd to dominate our impressions. Storytelling is evacuated in the process.
Nancy Cain interviews an upside down chin face about Women's Liberation, asking "Where do you stand on the subject?" The chin face professes to be happy with her lot, and says she enjoys living alone with her cat.
This video was shot in the Prince Street, New York loft/studio used by the Videofreex.
Made with my students at the San Francisco Art Institute, this video drama explores the thrills and terrors of the Big Top as a travelling circus comes to town bringing with it the promise of cotton candy, eternal youth, and high-flying beefcake. A mother and son become enmeshed in a web of sin and sawdust, licorice and lust, as a town confronts its own hideous image in a maze of mirrors at a carnival of lost and found souls.
A Body in a Cemetery is a 15-min short film that documents a place-inspired solo performance by dancer/choreographer Eiko Otake in Green-Wood Cemetery, the U.S.’s second oldest cemetery in Brooklyn that holds 570,000 "permanent residents." Presented in September 2020 by Pioneer Works and Green-Wood Cemetery, this event was for many the first time attending a live performance since the pandemic shutdown.
Co-commissioned by the Dance Center of Columbia College Chicago and Danspace Project, Death Poem is a meditation on dying. Eiko dances a long solo on a futon under a mosquito net, accompanied by the sound of insects and cicadas. Koma enters from another world and tries to bring Eiko back with him, but he leaves without her, as she is not yet ready to go.
A trans performers enacts an improvised strip-tease in silence, adhering to directions of positioning and movement. The performance fails to reveal genitals. Perspective oscillates between three stages of distance from the subject; re-focusing and reframing the (lack of) genital revelation.
Danh Vo is a Vietnamese-born Danish conceptual artist, currently living and working between Berlin and Mexico City. His large installations often deal with issues of personal identity and belonging. In conversation with Norah Taylor, an art historian specializing in South and Southeast Asian art, Vo discusses his upbringing, career, and what led him to become an artist.
Inspired by a riff on a popular joke “Everybody wanna be a black woman but nobody wanna be a black woman,” Notes On Gesture is a video comparing authentic and dramatic gestures. The piece uses the 17th Century text Chirologia: Or the Natural Language of the Hand as a guide to create an inventory of gestures for performance. The piece alternates between title cards proposing hypothetical situations and short, looping clips that respond. The actor uses her body to quote famous, infamous, and unknown women.
Over grainy, black and white images of a woman giving birth, Montano reads the story of a nun’s sexual self-discovery—recounting Sister Joan’s growing awareness of her body’s sensuousness and sexuality. Primal Scenes is an excellent example of women’s erotica, focusing on a woman’s experience of her body as both sexually powerful and deeply mysterious.
A comic monologue, I Was Once Involved in a Shit Show is a recollection of an imaginary art event that tallies with what most artists experience when they are involved in putting on an unfunded group show.
Four dummies, two cats, and a portal to bliss inside their attempts at symmetry. A hairball, and a mess of twigs, whose love has died and who are sad.
Nauman stands with his back to the camera, repeatetedly drawing the bow across the strings of a violin tuned D, E, A, D. Perhaps more than any other exercise, this tape demonstrates the sense of anticipation built up in the viewer, as we wait for Nauman to walk, to turn around, to play music ... to do something. This title was in the original Castelli-Sonnabend video art collection.
Irreverent yet poignant, The Eternal Frame is a re-enactment of the assassination of John F. Kennedy as seen in the famous Zapruder film. This home movie was immediately confiscated by the FBI, yet found its way into the visual subconscious of the nation. The Eternal Frame concentrates on this event as a crucial site of fascination and repression in the American mindset.
"The intent of this work was to examine and demystify the notion of the presidency, particularly Kennedy, as image archetype...."
— Doug Hall, 1984
A collaboration with DonChristian Jones.
Filmed during the Rauschenberg Foundation Residency November 2017.
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.
Actor Richard Marcus speaks directly and intimately to the viewer, relating a tale of personal loss, and then changing the subject to baseball. The video is about amateur vs. professional, personal vs. public space, and loyalty and self-confidence.
This title is also available on Chip Lord Videoworks: Volume 1.
"Playing like a series of overheard conversations, Life and People grapples with communication, language, and recitation by staging common situations—a doctor’s prognosis, a teacher’s report to a parent—in the director’s signature deadpan, but replicating the awkward interactions of his animation to live-action performances."
-- BAMcinematek, Migrating Forms, 2014
Executive Producer, Suzanne Lacy; Director, Steve Hirsch; Editor, Doug Gayeton.
From the performance Freeze Frame: Room for Living Room by Suzanne Lacy, Julia London, Ngoh Spencer, and Carol Leigh, San Francisco, 1982.
An experimental documentary about resistance, balance and fame. Kings of the Sky follows tightrope artist Adil Hoxur as he and his troupe tour China’s Taklamakan desert amongst the Uyghurs, a Turkic Muslim people seeking religious and political autonomy.
Relying on the magic echo found in an old power Station in Norway, the artist whistles and marches to the Internationale, a May Day workers’ song.
This title is also available on Sympathetic Vibrations: The Videoworks of Paul Kos.
You will never be a woman. You must live the rest of your days entirely as a man and you will only grow more masculine with every passing year. There is no way out.
