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In Hand Catching Lead, Serra’s first film, his right hand is in frame as he tries to catch pieces of lead as they are dropped through the frame. The hand opens and closes as it tries to grasp the falling lead, growing more and more weary with repeated attempts; the strain becomes more evident as...
In Hand Dryer, the artist dries her hands in the bathroom of the Loews Theater in Union Square after a screening of Men in Black III. The camera draws attention to the force and loudness of the dryer.
As in Serra’s other Hand films, Hand Lead Fulcrum involves a task performed in real time and emphasizes the tension of containment within the film frame. In Hand Lead Fulcrum, Serra’s arm functions as a fulcrum while his hand holds a roll of lead at the top of the frame. The weight of the lead...
Hands Scraping reduces the frame to one sequential structure in which the action demonstrates a reductio ad absurdum, for more energy is expended at the end to do seemingly less work. The film involves a particular kind of choreography for hands: the hands of Serra and his collaborator Philip...
Hands Tied, rather than being a task, is the performance of a feat, which lasts as long as it takes Serra, whose hands are tied with rope inside the frame, to untie the knots. The film sets up a dialectic between hands and material as the hands move and strain in loosening the rope. As in Hand...
With Head, Donegan ushered in a new era of brash, low-tech performance video. Here she confronts sex, fantasy, and voyeurism in an autoerotic work-out performed to pop music. The tape records a direct performance action: Donegan unplugs the spout of a plastic container; a stream of milk spurts...
In Headphones, Cokes investigates the social value of music as a means of channeling violence, before and after its economic profitability. Animating a text by music theorist and economist Jacques Attali, author of Noise: The Political Economy of Music (1977), Cokes argues that music "piracy" is not a crime or aberration, but a logical result of the marketing of music reproduction technologies.
Here Ahwesh employs a strategy similar to that used in her video 73 Suspect Words: against a blank screen, a metronomic procession of single words unfolds, gradually building into a cool, minimal portrait of the apocalyptic paranoia that runs through the American social body. Heaven's Gate takes up words from the Web site of the cult organization of that name, whose beliefs in extraterrestrial contact led to their 1997 mass suicide.
