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General Idea's mock documentary comprises a constellation of images and iconography that construct an "archaeology" of media and culture via a fictional museum. Cornucopia interrogates the process by which objects become history, are preserved or left in ruin, and the architectures of the private and public domains. The "documentary" acts as a kind of time capsule, and the "cornucopia" strips meaning and produces objects, abstracting the familiar and immortalizing it within the museum space.
A snapshot of popular culture in the early aughts, Coven Services mixes vignettes of Bag in multiple guises—a spokeswoman for Haliburton, Chase Bank, AOL Time Warner, Bechtel Corporation and other brands—with footage from Paris Hilton's infamous sex tape. In this disparaging look at the daily consumption of tangible and intangible products in a service economy, Bag brings the same pained smile to her promotions of laundry detergent, debit cards and the war in Iraq.
Donegan eats her way layer by iconic layer through a white bread and KRAFT American Cheese sandwich — crafting hearts, stars, faces and bunnies as she goes. Through a strategic use of close-ups and an aggressive rock n'roll soundtrack, Donegan ironically probes the auto-eroticism inherent in the...
"In 1998, twenty years after production began on William Friedkin’s 1980 notorious, gay leather underground crime thriller, Cruising, I reversed it scene by scene. The 'from behind' approach was suggested by the logic of the film itself. The narrative dissonance of the original film is amplified in Back to Front, the antinomy of law and desire patent. Moving in reverse, cause cruises outcome, with often queer effects." — Robert Buck
Atlas records a late-2000's revival performance of the 1993 dance CRWDSPCR, which Merce Cunningham choreographed using the choreographic software program LifeForms. In program notes to a performance of the dance, Cunningham suggested that the vowel-less title referred to the way in which technology both crowded space and quickened the pace of daily life. The project merges Cunninham's vision of a decentered organization of the stage with Atlas' use of the computer as a conceptual extension of chance-generated decision-making.
"Cycles of 3s and 7s is a doubled statement. First and foremost, it is a commentary on computer art and the role of computers in video. Secondly, its arithmetic project has some bearing on the construction of musical scales. In reclaiming the computer as a performance instrument, I intended that the human operator must compete directly with the computer, doing what the computer does best. The selection of a simple hand calculator was a deliberate denial of the computer aesth/ethic of bigger, faster: computer art must be doable within even the most modest architecture. Cycles of 3s and 7s shows that it is not the answer that 'counts,' but the pleasure in getting there. Simple rote calculation is turned into rhythm and song; accuracy of gesture and count become a game. These are 'stories' about numbers, the kind machines should like to hear and tell—if they 'liked.' The 'stories' here are calculated approximations to 1, each having the form
In musical theory, the prime numbers 3, 7, and p are harmonics, and a just-intonation interval scale with equal steps requires approximations of this form. For instance, our twelve-tone scale depends upon the approximation"i j -k p x 3 x 7 x 2
—Tony Conrad12 -19 3 x 2 = 1.0136
This 2015 collaboration by Charles Atlas with Anne Iobst and Lucy Sexton’s performance art duo Dancenoise features the pair of artists running amok in the new location of the Whitney Museum. Synthesizing Dancenoise’s trademark deadpan humor with Atlas’ wry direction, DANCENOISE in a museum? is a...
A short-form portrait of the artist’s relationship with her father, structured in two parts: an emotional phone conversation between the two that oscillates between English and Mandarin, and a brief travelog of Lee’s subsequent trip to visit him in Taiwan. A series of fleeting memories, ranging from lighthearted (a trip down a crafts aisle at a general store, visits with her father’s magician friends) to tender (footage of the artist pushing her father’s wheelchair) animate a poignant reflection on parental aging and bittersweet reunion. The two sections are linked by fortune cookie messages reading “A new voyage will fill your life with untold memories,” and a lesson in how to say “Daughter” in Mandarin.
Kelley's carnivalesque opus is a genre-smashing epic in which vampires, dancing Goths, hillbillies, mimes and demons come together in a kind of subversive musical theater/variety revue. This riotous, feature-length theatrical spectacle unfolds as an episodic series that forms a loose, fractured narrative. The video comprises parts 2-32 of Kelley's multi-faceted project Extracurricular Activity Projective Reconstructions, in which trauma, abuse and repressed memory are refracted through personal and mass-cultural experience. The source materials are high school yearbook photographs of "extracurricular activities," or what Kelley terms "socially accepted rituals of deviance." Kelley then stages video narratives around these found images. Here these restagings take the form of "folk entertainments" that Kelley memorably subverts.
In May 1972, Matta-Clark worked on an abandoned pier in New York for two months, where he cut sections of the door, floor, and roof.
