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Carl Ruggles Christmas Breakfast 1963
Carolee Schneemann
2007, 9:02 min, color, sound, 16 mm film on video
In her earliest film, which has been newly transferred to video, Schneemann presents an abstracted portrait of the American composer Carl Ruggles, known for his irascible personality and finely-crafted atonal music. Ruggles is seen enjoying pie a la mode and ruminating on subjects ranging from Christmas to his incomplete opera The Sunken Bell. The hand-painted film stock heightens the impressionistic vitality of this snapshot of the 84-year-old composer.
A photographic session in which the artist as "ballerina" is photographed by the "photographer" in a set of stills intended to represent her in the appropriately glamorous and correct positions, after only three months of ballet training. The tape juxtaposes the truth of the "still" image, adequate for 1/125 of a second, against the video camera's more extensive duration. The cropped reality photographed is compared to the "truth" of the video camera.
Juxtaposing two restagings of a melodramatic scene from The Who's rock opera Tommy, Donegan analyzes how media cannibalizes, revises, and resurrects itself. In Donegan's almost psychedelic renditions, a silver-garbed, red-wigged performer capers in a theatrical non-space of foil, plastic, police tape, and rescanned video images of Ann-Margret. First actress Garland Hunter enacts the scene, and then, in a silent version, Donegan herself takes the role.
"I've got to stop drinking — less." — Stuart Sherman
In Cheryl, Donegan's starting point is the appropriated audio of a self-motivating corporate monologue by a woman named Cheryl. A model of forced enthusiasm, this stand-in repeats a litany of retail clichés and self-encouragements; the audio is coupled with a flow of low-res images, taken from the Web, of cheaply made, kitschy consumer items.
In Gag, Donegan sits, hands behind her back, clutching a baguette between her knees. She chews and swallows the bread until only a stub remains. In Guide Donegan uses her hands and fingers to chart a path of "footprints" on paper, only to immediately smear and obscure the prints with water and a...
In these three performance-based, gestural works, Donegan uses her body as an art-making tool to subvert traditional modes of painting and play with notions of identity and art history.
Cinéma Metaphysique: Nos. 2, 3 and 4
Nam June Paik and Jud Yalkut
1967-72, 8:39 min, b&w, sound, 16 mm film on video
This early work belongs in the company of Paik and Yalkut's classic collaborative "video-films." To the accompaniment of the abrupt sonic interjections of Fluxus-affiliated composer Takehisa Kosugi, Yalkut's film records brief, masked views of human actions. Reminiscent of Beckett's theater, as well as the minimal movements of 1960s avant-garde dance, Cinéma Metaphysique is a study in gesture and stillness, noise and silence.
Jacobs documents New York in the immediate aftermath of September 11, 2001, from the emergency workers and crowds around Ground Zero to the spontaneous memorials in Union Square. He records the process of gaining access to his own apartment, just blocks north of the Trade Center site, from which smoke was still rising. Jacobs' camera returns repeatedly to the empty sky, gazing as if in disbelief at the void.
Foreman produced City Archives, a labyrinthine collage of image and language, at the invitation of the Walker Art Center in Minneapolis. The tape centers on the perspective of an outsider — the foreigner as Other — towards a city and its artifacts. Foreman's signature visual and verbal puns and...
