Video History

Taking its title from the sea nymphs in Homer’s Odyssey—the treacherous spirits whose sweet voices lured sailors to their death upon the rocks—Sirens presents four hallucinatory scenes, visual puns authored by a mischievous agent. Mocking laughter that shatters the illusion and causes viewers to doubt the assumptions implicit in their viewing disrupts stills of what seem to be unpopulated landscapes.

Made in collaboration with Chip Lord and Jody Procter

When I look for the lightning, it never strikes. When I look away, it does. Filmed inside a car, this tape focuses on observation of natural phenomena, presenting the obverse of the, "If a tree falls in the woods..." conundrum. Does observation change the course of events? Can you believe in things you don't see? In this experiment, the camera occupies a privileged position — showing the woman and what she sees, as well as what she cannot see.

"Bricks, white noise, video. Free floating sync, altered, drifiting camera: video image and time. Keying permutations, switching via gray level values, using a modified b+w Sony special effects generator (SEG). Building the building, one brick at a time. In video what is a brick? In spite of what was then a fierce cultural doxa, an anti-materialist pressure, and being quite anti-anti-materialist I was working hard to coax out significant features as expressive intensity zones, electronic energy points always engaging with the signals."  

– Peer Bode

In a vile and ingenious way, Acconci pleads with the camera/spectator to join with him, to come to him, promising to be honest and begging, "I need it, you need it, c'mon... look how easy it is." Acconci addresses the viewer as a sexual partner, acting as if no distance existed between them. The monitor becomes an agent of intimate address, presenting a disingenuous intimacy that is one-sided and pure fantasy, much like the popular love songs in the background with which Acconci croons, "I'll be your baby, I'll be your baby tonight, yeah, yeah."

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 

Torn over the pressure to perform for his audience, Acconci fantasizes about "a dancing bear" who takes his place, performing in the spotlight, doing what others want, "what I always had to do."  The viewer is placed in the position of an authority or analyst, above Acconci’s head, listening to his hallucination.  This fantasy becomes increasingly erotic as Acconci unburdens himself psychologically and reveals his contradictory need to control and to be controlled.

This title was in the original Castelli-Sonnabend video art collection.

Plowman's Lunch is called a documentary because its intent was to explore actual occurrences—be these the building of the work, or what befalls the players. It still uses an open form, but the characters are more developed; they have "names," and some of the scenes were truly dangerous for them to produce. As in the other films (with the exception of Done To) there is a nucleus of three characters—two women (Boris and Jamiee), and one man (Steentje, a tranvestite/hermaphrodite). The music, composed expressly for the piece, is harmonious with its developments.

Acconci explodes the notion of an artist’s creation, his creative act being the build-up and discharge of saliva, an activity more properly belonging to the realm of necessary and autonomic bodily functions than art. Positioning himself as a hyper self-conscious artistic subject, Acconci fuses the terrains of body art and process art, formulating the body as process, and art as a natural function of the body.

This title was in the original Castelli-Sonnabend video art collection.

A Second Quarter is decidedly European; the “place” (Berlin) is the catalyst for the “action” (the work). The works recited in the film are concerned with barriers and borders, physical and geophysical phenomena. The characters also translate, count, and recite the alphabet. They build a narrative that is not a story to be followed dogmatically but rather a pattern from which to extract one’s version of what is seen.

A classic example of feminist performance videos of the 1970s, which often incorporated autobiography, expansion of self through personae, and assertions of a new identity for women. In Nun and Deviant the performers come to happier terms with their identities both as women and as artists.

There is a crudeness to How's Tricks, Benglis's first venture into narrative fiction. No attempt is made to hide the mechanics of making the tape. At one point, while Benglis and [Stanton] Kaye argue about the tape they are making of [Bobby] Reynolds (a real-life carny who also appears in The Amazing Bow-Wow), Kaye is seen reaching over to turn off the video recorder — and thus the scene ends...