Marina Abramovic is recognized as one of the leading international practitioners of performance art. From 1976 to 1988, Abramovic and her partner Ulay undertook a rigorous artistic collaboration that included many video works. Seminal participants in the European body art and performance movements, they created a series of provocative, ritualistic performances entitled Relation Work. In these highly charged events, they engaged in a dialogue of the body and the self, testing the limits of mental and physical endurance, risk, and male and female identities.
The influential, provocative and often radical art-making practices of Vito Acconci have evolved from writing through conceptual art, bodyworks, performance, film, video, multimedia installation, sculpture, design and architecture. In the 1970s, he produced a remarkable body of conceptual, performance-based film and video works, in which he engages in an intensive psychodramatic dialogue between artist and viewer, body and self, public and private, subject and object.
Over the last two decades, Peggy Ahwesh has produced one of the most heterogeneous bodies of work in experimental film and video. A true bricoleur, her tools include narrative and documentary styles, improvised performance, Super-8 film, found footage, digital animation, and Pixelvision video. With playfulness and humor, she investigates cultural and gender identities, the role of the subject, language and representation.
In her media works from the 1980s, Los Angeles-based artist Max Almy employs video and computer techniques to create dynamic visual allegories of the impact of technology and television on contemporary life.
Since 1991, Francis Al˙s has produced a complex and elusive body of work in video, painting, performance, documentary film, and photography. A Belgian-born artist who lives in Mexico City, Al˙s explores issues ranging from political structures and transnational boundaries to questions of how the individual makes sense of social representations and cultural mythologies. In many of Al˙s' works, the act of walking becomes a narrative process through which the artist investigates social and political spaces.
The provocative works of San Francisco-based artist Lawrence Andrews explore cultural and mass media constructions of history and identity. Unflinching in their political and social critique, Andrews' collage-like video essays are discursive inquiries into the ideological and economic functions of cultural systems. He explores violence and racism in relation to media representation, art-making, and institutions.
Belgian artist Marie Andre's works merge and transcend genres such as narrative fiction, portrait, documentary, and performance. Throughout, André is engaged in the subtle act of observation. Focusing on the significance of the intimate or quotidian gesture, she suggests a personal dialogue between the artist and her predominantly female subjects.
Ant Farm was an innovative countercultural collective working in media, architecture and spectacle from the late 1960s through the 1970s. Their media events, site structures, performances and videotapes merge an irreverent pop humor with cultural and political critique. Images of a Cadillac crashing through a wall of burning TV sets, or of ten Cadillacs buried, fin-up, in a field off Route 66 in Texas are emblematic of Ant Farm's provocations towards the mass media and American cultural icons.
Eleanor Antin, who has worked in film, video, photography, installation, writing and performance since the 1960s, uses fictional characters, autobiography and narrative to invent histories and explore what she calls, "the slippery nature of the self." In her performance-based video works, Antin uses role-playing and artifice as conceptual devices, adopting archetypal personae — a ballerina, a king, a nurse — in her theatrical dramatizations of identity and representation.
Cory Arcangel is a Brooklyn-based artist who makes work in a wide range of media, including music, video, modified videogames, performance, and the Internet. Arcangel often makes use of appropriation as a strategy, drawing on source materials that range from best-selling albums to Photoshop gradients. His work explores the nature of cultural production and consumption in a media- and technology-saturated world.
Dan Asher's camera mediates between the artist's presence and that of his subjects — observed anonymously or recorded from television — to reveal the often poetic relationships of one to the other.
Charles Atlas is one of the premier interpreters of dance, theater and performance on video. Working in film, video, installation, theater and performance for four decades, he has created works for screen, stage, gallery, and television. A pioneer in the development of media-dance, he transforms this genre into a provocative and ironic collusion of narrative and fictional modes with performance documentary. He has collaborated with international performers and choreographers, including Merce Cunningham, Michael Clark, Leigh Bowery, John Kelly, Karole Armitage and Bill Irwin.