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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.
Termed "the best look at Cuba since Castro toppled the Batista regime" by the news agency United Press International, this ground-breaking work of international advocacy journalism was one of the first independently produced documentaries to be broadcast on national television. As the first...
"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.
"Death of a Marriage I think is my first psychodrama – finding images and filmic methods of portraying my interior emotional being. I had built by hand with my husband a home in the woods, made my own horse corral, and had an art studio. Yet the alternative lifestyle didn’t erase the feeling of entrapment, proscribed role, and constrictions. Yip, yip and away!" — Barbara Hammer
